Using English fluency formula to improve student’s speaking skill

Olimova Shahina Botirjon qizi

                Students of Uzbekistan State World Language University

Scientific advisor: Kaljanova Gulmira 

Teacher of Uzbekistan State World Language University

Abstract: Speaking is a crucial skill for English learners, especially students who intend to study at international universities. Unfortunately, most students come across challenges with speaking skills. Mainly, the cause of the problem is lack of English practice. In social media, many videos and podcasts try to give secret methods and new ways to learn English, but the principles are quite simple and mostly nothing new. Students get a bit confused about which is the best, but nobody explains to them how to practice. The English fluency formula is one technique that provides a special way to improve speaking skills.

Аннотация: Умение говорить является важнейшим навыком для изучающих английский язык, особенно для студентов, которые собираются учиться в международных университетах. К сожалению, большинство студентов сталкиваются с трудностями в умении говорить. В основном, причиной проблемы является отсутствие практики английского языка. В социальных сетях множество видео и подкастов пытаются дать секретные методы и новые способы изучения английского языка, но принципы довольно просты и в основном не являются чем-то новым. Студенты немного путаются в том, что лучше, но никто не объясняет им, как практиковать. Формула беглости английского языка — это одна из методик, которая обеспечивает особый способ улучшения навыков разговорной речи.

Annotatsiya: Ingliz tilini o’rganuvchilar, ayniqsa xalqaro universitetlarda o’qish niyatida bo’lgan talabalar uchun gapirish juda muhim mahoratdir. Afsuski, ko’pchilik talabalar nutq qobiliyatlari bilan bog’liq qiyinchiliklarga duch kelishadi. Asosan, muammoning sababi ingliz amaliyotining etishmasligi. Ijtimoiy tarmoqlarda ko’plab videolar va podkastlar ingliz tilini o’rganishning yashirin usullari va yangi usullarini berishga harakat qiladi, ammo printsiplar juda oddiy va asosan yangilik emas. Talabalar qaysi biri eng yaxshisi haqida bir oz chalkashib ketishadi, lekin hech kim ularga qanday mashq qilishni tushuntirmaydi. Ingliz tilini ravonlik formulasi nutq ko’nikmalarini yaxshilashning maxsus usulini ta’minlovchi usullardan biridir.

Keywords: English fluency formula, speaking skill, practicing English communicative skills.

Ключевые слова: формула беглости английского языка, навык говорения, отработка навыков общения на английском языке.

Kalit so’zlar: Ingliz tilini ravonlik formulasi, so’zlashuv mahorati, ingliz tilida kommunikativ ko’nikmalarni mashq qilish.

Introduction: English is an international language that is mainly used in social media networks, and most information on websites is given in English. Apart from that, English is the main communicative language across the world that can help students to build strong relationships with international students. Effective speaking skills improve social interactions and help build relationships and built confidence. The English fluency formula could help them not only to improve their speaking skills but also to enhance their language source. This formula consists of 3 parts, including studying, practicing, and time, which result in fluency.

Formula: (S+P) x T=F

S=study

P=practice

T=time

How to study

The study part of the formula has two main secrets. Firstly, students need to try to study in context and avoid word lists. For example, if learners use a grammar book, they need to utilize it as a reference; they should not study the whole book.

Study steps:

1.Know current level.

Students could know their level through online tests or ask teachers to check their knowledge.

2. Choose the text at a suitable level.

It can be an audio text, video, or written text. It has been suggested that the chosen text or video should be above the learner’s level. If it is appropriate for the learner, it will be more engaging for them to learn English. Students could find their own resources, or even better, they can choose a coursebook. The coursebook is a great way to boost speaking skills because it’s all in one place.

3. Read, listen, and watch.

In that place, students need to watch English content for enjoyment instead of analyzing it. They should just read, look, listen to the video or film, and not overcomplicate the process. Because if they watch videos for only academic purposes, they can get bored with studying, and they will not be motivated to carry on.

4.Analyze the text.

In this part, students do a deep analysis of selected text and try to find new vocabularies as well as grammar structures in the text. After that, they search for new knowledge on the internet to know the exact meaning and learn how to use it.

How to practice

The main concern among students is how to practice speaking during the learning process. As technology is developing day by day, students have more options for practicing with other learners. One of the best ways is using ChatGPT. In that program, they can choose one topic to discuss, and they convey ideas, and ChatGPT asks questions to facilitate a discussion. Additionally, students may engage in structured debates on various topics that allow them to articulate their ideas. It not only helps to improve their speaking skills but also broadens their horizons and improves critical thinking.AI programs could help students with pronunciation practice. Students read passages aloud and ask to give feedback on pronunciation and suggestions. Most importantly, after speaking, ChatGPT gives feedback on areas for improvement, such as vocabulary usage, sentence structure, and pronunciation. Through this, students know their mistakes and can correct them with enough practice.

There are two main ways to practice:

1.Alone. 

In that case, students can efficiently use YouTube for improving their speaking ability. While watching one video, students can pause and repeat the sentence that they hear. Sometimes they can change words, tense, or even the structure of sentences. It is like a shadowing technique that helps students to boost their speaking skills.

2.Practicing with others. 

Students can speak with people who intend to learn English. In this method, they need to choose a person who has the same level as them. They can use Google to find topics, and they should have 20 minutes of talk a day. 

For alone practice, there are kind of three good ways:

1.One of the controlled ones, where students should just repeat sentences in the video.

2.Semi-controlled. 

In this way, students may change the structure, vocabulary, and words. While they are repeating, they can change a word, or they even can add some new information. 

3.Free practice. 

This way is wider as compared to others. Students need to find some phrases that they have not seen before. After that they will make a story, trying to use those phrasal verbs. It is always a good idea to record when they are practicing alone. They have a chance to listen back and find mistakes. This method is helpful for lone learners because they can not get feedback from others.

Research and discussion:

The English fluency formula is one of the effective techniques that helps students to develop improved communication skills. The research was conducted in a university class. For observation, first-year students were taken during 2 weeks. Every lesson, teachers tried to teach using the English fluency formula. In the first week, they selected one interesting YouTube website and started to watch one video every lesson. The video was about educational theories; students independently chose it based on their interest. In the second week, they began to analyze the video and found new vocabularies as well as grammatical structures; they wrote all of them down. Additionally, students imitated characters with gestures. Teachers requested to learn deeply what they had written. Finally, when teachers got interviews from students to check their speaking ability, improvements were seen in vocabulary, pronunciation, grammar, and fluency.

Conclusion:

Speaking is a vital skill in learning English that needs to be mastered by students. Most students have problems with lack of practice with others, which makes students levels low. The English fluency formula aimed to help learners improve their English language skills and enhance fluency. Based on research given above, it is proven that the English fluency formula can help students to improve their fluency, pronunciation, grammar, and overall ability to speak. During research, students were able to learn new knowledge and find more information on topics they were interested in. Lastly, with the imitation technique, students can speak more like a native speaker and learn more phrases that are usually used by natives.

References:

1. 1. Ur, Penny. (2012). A Course in Language Teaching: Practice and Theory. Cambridge University Press.

2. Nation, I.S.P., & Newton, J. (2009). Teaching ESL/EFL Listening and Speaking. Routledge.

3. Lazaraton, Anne. (2001). Quantitative and Qualitative Approaches to the Study of Language Learning Strategies. In Language Learning Strategies in Independent Settings (pp. 25-50). University of Michigan Press.

4. Kukulska-Hulme, Agnes. (2009). “Will mobile learning change language learning?” ReCALL, 21(2), 157-165.

5. Thornbury, Scott. (2005). “How to Teach Speaking.” Pearson Education Limited.

6. Ellis, Rod. (2016). “The Study of Second Language Acquisition.” In Handbook of Second Language Acquisition (pp. 1-20). Routledge.

7.Richards, J.C., & Renandya, W.A.B. (2002). Methodology in Language Teaching: An Anthology of Current Practice. Cambridge University Press.

8. Scrivener, J. (2010). Learning Teaching: The Essential Guide to English Language Teaching. Macmillan Education.

9. Thornbury, S. (2005). How to Teach Speaking. Pearson Longman.

10. Ur,P. (2012). A Course in English Language Teaching: Practice and Theory. Cambridge University Press.

11. Willingham,D.T.(2017). The Reading Mind: A Cognitive Approach to Understanding How the Mind Reads . Scribner Publishing

Tarjima nazariyasi va amaliyoti fanining asosiy tushunchalari va atamalari

 Andijon davlat chet tillari instituti 4-bosqich

 talabasi Tursunxo’jayeva Malika Abdusamat qizi                                

 abdusamadovnamalika@gmail.com

 ilmiy rahbar:Qodirova Nargiza

Annotatsiya:Tarjima nazariyasi va amaliyoti fanining asosiy tushunchalari va atamalari tarjima faoliyatini tashkil etuvchi muhim bilimlarni shakllantiradi. Tarjima nazariyasida o‘rganiladigan asosiy tushunchalar orasida “ekvivalentlik”, “yuzaki tarjima”, “qayta tarjima”, “stilistik tarjima” kabi atamalar muhim o‘rin tutadi. Tarjima nazariyasi va amaliyoti sohasida asosiy e’tibor tarjima jarayonidagi muammolarni hal qilish, madaniy va lingvistik farqlarni hisobga olgan holda to‘g‘ri va aniq tarjimani amalga oshirishga qaratiladi. Tarjima amaliyoti esa ilmiy, ijodiy va professional sohalarda qo‘llanilishi kerak bo‘lgan metodlarni va uslublarni o‘z ichiga oladi.

Kalit so‘zlar:tarjima nazariyasi, ekvivalentlik, yuzaki tarjima, stilistik tarjima, lingvistik farqlar, madaniyatlararo tarjima, tarjima usullari, tarjima jarayoni

Аннотация:Основные понятия и термины теории и практики перевода формируют важные знания, составляющие переводческую деятельность. Среди основных понятий, изучаемых в теории перевода, важное место занимают такие термины, как «эквивалентность», «поверхностный перевод», «повторный перевод», «стилистический перевод». В области теории и практики перевода основной упор делается на решение проблем в переводческом процессе, осуществление правильного и точного перевода с учетом культурных и языковых различий. Переводческая практика, с другой стороны, включает в себя приемы и приемы, которые следует применять в научной, творческой и профессиональной сферах.

Ключевые слова:теория перевода, эквивалентность, поверхностный перевод, стилистический перевод, лингвистические различия, межкультурный перевод, методы перевода, процесс перевода

Annotation:The basic concepts and terms of translation theory and practice form the important knowledge that constitutes the activity of translation. Among the basic concepts studied in translation theory, such terms as “equivalence”, “superficial translation”, “retranslation”, “stylistic translation” occupy an important place. In the field of translation theory and practice, the main emphasis is on solving problems in the translation process, implementing correct and accurate translation, taking into account cultural and linguistic differences. Translation practice, on the other hand, includes techniques and techniques that should be applied in the scientific, creative, and professional fields.

Keywords:translation theory, equivalence, superficial translation, stylistic translation, linguistic differences, cross-cultural translation, translation methods, translation process

Bu soha tilshunoslikning boshqa bo‘limlari bilan yaqindan bog‘liq bo‘lib, ularning o‘zaro aloqalari va ta’siri tarjima jarayonida muhim o‘rin tutadi.

Tarjima – madaniyatlar, tillar va xalqlar o‘rtasida ko‘prik vazifasini bajaruvchi murakkab jarayondir. Tarjima nazariyasi va amaliyoti esa ushbu jarayonni ilmiy asosda o‘rganadi, tarjima faoliyatining qonuniyatlari, usullari va muammolarini tadqiq qiladi. Bugungi global dunyoda tarjima sohasi nafaqat adabiy yoki ilmiy sohalarda, balki siyosat, biznes va texnika sohalarida ham muhim rol o‘ynamoqda. Shu sababli tarjima nazariyasi va amaliyotining asosiy tushuncha va atamalarini mukammal bilish zamon talabi hisoblanadi.

Tarjima nazariyasi va amaliyoti fanining mohiyati:Tarjima nazariyasi tarjima faoliyatining umumiy tamoyillarini, asosiy qonuniyatlarini va uslubiy asoslarini o‘rganadi. Amaliy tarjima esa ushbu nazariy bilimlarni hayotga tatbiq qilish – ya’ni, konkret matnlarni bir tildan ikkinchisiga to‘g‘ri va samarali o‘girish faoliyatini anglatadi.

Tarjima nazariyasi va amaliyoti bir-biri bilan chambarchas bog‘liq bo‘lib, nazariya amaliyotni yo‘naltiradi, amaliyot esa nazariyani boyitadi va rivojlantiradi.

Asosiy tushunchalar va atamalar

1. Tarjima (Translation).Tarjima — bir tildagi matn (manba til) mazmunini boshqa bir tildagi matnga (nishon til) to‘g‘ri, aniq va iloji boricha tabiiy shaklda yetkazib berish jarayonidir.

2. Manba til va nishon til (Source Language and Target Language).Manba til – tarjima qilinayotgan matn yozilgan asl til. Nishon til – matn tarjima qilinadigan til.

3. Ekvivalentlik (Equivalence).Tarjimada matnning ma’no jihatdan tengligini saqlash zarurati. Ekvivalentlik turli darajalarda (leksik, grammatik, stilistik va pragmatik) namoyon bo‘lishi mumkin.

4. Adekvant tarjima (Adequate Translation).Manba matnning ma’no va shakl xususiyatlarini imkon qadar to‘liq va to‘g‘ri ifoda qiluvchi tarjima.

5. Tarjima transformatsiyalari (Translation Transformations).Til va madaniy tafovutlar sababli tarjima jarayonida amalga oshiriladigan o‘zgarishlar, masalan, omissiya (qoldirib ketish), generalizatsiya (umumlashtirish), konkretizatsiya (aniqlashtirish), almashtirish va hokazolar.

6. Intersemiotik tarjima (Intersemiotic Translation).Til belgilarini boshqa tizim (masalan, rasm, musiqa, kino) orqali ifodalash; Roman Jakobson tomonidan ilgari surilgan kontseptsiya.

7. Tarjima birliklari (Units of Translation).Tarjimada mazmunni saqlab qolishga xizmat qiladigan eng kichik birliklar – so‘z, fraza, gap yoki butun matn bo‘lishi mumkin.

8. Tarjima strategiyalari va usullari (Translation Strategies and Techniques).

Tarjimonning maqsadga erishish uchun tanlagan yondashuvlari. Masalan, so‘zma-so‘z tarjima, erkin tarjima, adaptatsiya, transkripsiya va translyiteratsiya.

Tarjima turlari

Tarjimaning ko‘plab turlari mavjud:Adabiy tarjima (badiiy asarlar tarjimasi),

texnik tarjima (fan va texnika sohasidagi matnlar), ijtimoiy-siyosiy tarjima, audiovizual tarjima (kino va seriallar subtitr va dublyaji), simultane tarjima (bir vaqtning o‘zida og‘zaki tarjima qilish), pismon tarjima (yozma matnlarning tarjimasi).

Tarjima nazariyasi: Bu soha tarjimaning ilmiy asoslari, tamoyillari, usullari va metodlarini o‘rganadi. Tarjima nazariyasining asosiy maqsadi tarjimaning muvaffaqiyatli va aniq bo‘lishini ta’minlash uchun kerakli ilmiy asoslarni ishlab chiqishdir.

2. Tarjima amaliyoti: Tarjima amaliyoti nazariyadan farqli ravishda tarjima jarayonining real sharoitda, ya’ni matnlarni tarjima qilishda qo‘llaniladigan usullarni va metodlarni o‘rganadi. Bu usullar tilning o‘ziga xos xususiyatlari, matnning maqsadi va auditoriyasiga qarab tanlanadi.

3. Lingvistik farqlar: Tarjima jarayonida tillar orasidagi grammatik, leksik va semantik farqlarni hisobga olish juda muhim. Har bir tilning o‘ziga xos struktura va ifoda vositalari mavjud bo‘lib, ularni boshqa tilga to‘g‘ri o‘zgartirish katta e’tibor talab qiladi.

4. Madaniyatlararo tarjima: Madaniy farqlarni hisobga olgan holda tarjima qilish ko‘p hollarda nazariy va amaliyotni o‘zaro bog‘laydi. Tarjimachi nafaqat tilni, balki tarjima qilinayotgan madaniyatni ham chuqur tushunishi kerak.

5. Ekvivalentlik: Tarjimaning eng muhim printsiplaridan biri, bu tarjima tilidagi ifodaning asl matndagi ma’no va tuzilishga to‘liq mos kelishini ta’minlashdir. Ekvivalentlik nafaqat so‘zma-so‘z tarjima qilishni, balki til va madaniyat farqlarini hisobga olishni ham anglatadi.

Xulosa qilib aytganda tarjima nazariyasi va amaliyoti fani tarjima jarayonining ilmiy va amaliy asoslarini o‘rganadi. Uning asosiy tushunchalari va atamalarini to‘g‘ri tushunish, tarjimonlik mahoratini oshirishda va turli sohalarda muvaffaqiyatli faoliyat yuritishda muhim rol o‘ynaydi. Bugungi globallashuv sharoitida tarjimonlardan nafaqat mukammal til bilimlari, balki nazariy tayyorgarlik va madaniy tafovutlarni hisobga olish qobiliyati ham talab qilinmoqda.

                                  Foydalanilgan adabiyotlar

1. Kuznetsova, I. (2008). Tarjima nazariyasi: nazariy asoslar va amaliyot. Toshkent: O‘qituvchi.

2. Shakirova, T. (2015). Tarjimada ekvivalentlik va adekvatlik: nazariy yondashuvlar. Samarqand: Samarqand Davlat Universiteti nashriyoti.

3. Jakobson, R. (1959). On Linguistic Aspects of Translation. Selected Writings, Volume 2. The Hague: Mouton.

4. Newmark, P. (1988). A Textbook of Translation. London: Prentice Hall.

5. Nida, E., & Taber, C. (2003). The Theory and Practice of Translation. Leiden: Brill.

6. Venuti, L. (2012). The Translator’s Invisibility: A History of Translation. London: Routledge.

7. Baker, M. (1992). In Other Words: A Coursebook on Translation. London: Routledge.

8. Qo‘chqarov O. – Tarjima nazariyasi va amaliyoti. Toshkent: Universitet, 2009.

9. Karimov E., Xudoyberganova D. – Tarjima asoslari. Toshkent: Fan, 2005.

10. Xudoyberganova D. – Tarjimashunoslikka kirish. Toshkent: Fan va texnologiya, 2011.

11. Rustamov Sh. – Tarjima nazariyasi va uning asosiy masalalari. Toshkent: O‘qituvchi, 1996.

12. Jo‘raev O. – Adabiy tarjima masalalari. Toshkent: G‘afur G‘ulom nomidagi adabiyot va san’at nashriyoti, 1979.

13. Xaitboeva L. – Tarjima va madaniyatlararo kommunikatsiya. Toshkent: Yangi asr avlodi, 2018.

14. Komissarov V. N. – Tarjimaning nazariy va amaliy asoslari (rus tilidan).

15. Jakobson R. – Til va tarjima nazariyasi (maqolalari).

16. E. Nida – Toward a Science of Translating (Tarjima nazariyasi asoschilari qatoridan).

wind borne poems

the wind was something. I could hear it rattling outside and at least little parts of the sky blue showed themselves. I had a problem with the boot laces and changed them, using a lighter lace, a running shoe lace as I forgot to purchase proper laces. but I remembered going to Seneca College summer hockey camp and they showed us a video of Gordie Howe giving a few suggestions on equipment. he tied the lace before you do the loops, not once around, but twice, saying that if you do that it won’t come loose. I picked up on that then and always did that and felt I knew some secret about laces. Think about it and you will probably remember seeing someone in life holding down their laces with a finger or fingers in the middle of tying them. That’s because they can become loose before you are done. better to do Gordie Howe’s trick. I wonder how he learned it or discovered it himself. the old time people and figures sometimes know much. 

I ventured out and made my way to some

fields. I saw some leaves on trees and they seemed lonesome and strange, burdened by life. I imagined, a pure shameless projection, that they would rather be in Florida on a beach. I myself would have been. I imagined verdant palm fronds in a warm wind, talking slightly in their own way. How would it be? I would walk down some place and easy landscape and read campy pulp novels for fun, enough big thinking about literature and philosophy, spirituality and ideas. but sometimes I’d read a bit of Alexandr Solzhenitsyn and things to remain soulful and as sharp as possible. I’d head back to a patio and order a turkey club sandwich and a diet soda if I was getting hungry. maybe the next day I’d choose to eat at home and fix a sandwich myself. Outside I might hear the sea, and then take a break from eating that lunch, and go glance at the wondrous and whimsical ocean and coastline. 

but I had to concentrate on the present and brought myself out of my daydream about the southern shores. I kept on and went over a small bridge. one could hardly discern this bridge from the ground as the snows that had come over the weeks of the middle winter were that high. but some planks wooden were still there, confident and reliable. I stood there for a bit and the wind got stronger, almost vexatious, and I took a few big gulps of it. I had read that Knut Hamsun had gone on top of a train when he was sick and was gulping all the air and helped cure himself. whatever the case, fresh air couldn’t hurt and could only help. then I composed a more ‘verse’ poem in my head:

those leaves/

crinkled and old, staying/

nobody notices such/ and beyond the

winter wind makes the evergreens move/

the working boots talk their talk I see/

and the white collars too/

a bird appears/ somehow displaced from home/ looking/ not at ease like the birds of the summer poet/ no/ looking for something lost

I didn’t have a title for the words then. but I would end up calling it simply, Leaves 

there was a series of hills and I went up and then down them, bumps in an otherwise pretty vast and plain area. there were some spots near the far purlieu where some wild sumac lived, retaining that deep inspiring colour in all months. the snow had stayed on some of it, and the white/red made an interesting picture for its juxtapositions. when I had begun nature walking everything looked the same. as time went along I learned that there were hundreds, probably thousands of pictures and poems and stories to be had from woodlands and fields, even the sky and water. we had become friends, and my friends seemed to teach me through time not only photography and writing, but mysticism and maybe…do you know what is beyond mysticism itself, all forms of mysticism, and is the true and most noble and important goal? it is Enlightenment

, Moksha, Freedom, Awakening. Pick your word. I walked and walked. I had to take my time as the snow was deep. The main paths were too busy though. I’d take the snow. Like in life, the main path is easier but paved with mediocrity and predictability. I would make it my own way, somehow, in the snow, in the arts w/my work, and in spiritually and life itself. but, though on the monomyth journey, and the fool’s journey of the tarot, that entire seeker’s trip, i was also no fool, and so would remember to tie my laces like the great Gordie Howe did. 

—-

Time spread poems like butter on bread
Springtime and long summer days, confusion and technological change

At a distance, the island appeared to be a tiered wedding cake with several layers of dazzling white topped by a castle and monastery. It was all for Tina. On arrival, the Portera on the bluff was open, seemingly to beckon both of us to walk through it into a new Ariadne smile. Radiant rays of sun poured through it. We walked the shores of Naxos. Cheese, carrots, and potatoes. It was 1963, and we were exhilarated by the cooling spray whipped up by the Aegean wind. We laughed and loved.

Do you remember Νaxos?
Come let’s take a journey on sun-buttered bays of light.
Plunge into waves of morning dance on the sands at night.
And we shall arrive again at the place where we loved on trembling sand.

Listen once more to the wave’s music and the tide wetting the land.
Feel the warmth of lost moments, feel the touch of our hands.
Recline in the sun together, love, on the warm golden sand.
Come let’s follow the rainbow pass through the colors of time.
Listen again to your voice whispering your head next to mine.
Feel the heat of rocks ageless baking in golden sunshine.
And we shall lie down at midday, and I shall drink in your sweet wine.
Follow the scent of the blossoms; look for the wisdom of vines.
I will see you once more in the springtime before leaves leave on their flight.
Before you weathered the winter before the cold darkness of night.
I shall hear the lilt of your laughter snuggle up into your smile.
Bathe in the gaze of your brown eyes all softness and warmth for awhile.

Come let’s take a journey over the widening years.
Cool in the waters of morning, warm in the flow of our tears.
And I will bring you my laughter blossoms from the bough of a tree.
As we hold on to each other forever in love together youthful and free.
The same girl
Such a wonder have I dreamed and now perceived.
That I have found and only lived in you.
Could I today just find a way to say.
You are the sunshine of my night and each and every day.
Two fragments found in a forgotten place
Chance it was when an awe-inspiring girl
Crossed my path and I hers
Our eyes pulling and could not draw back
Two different lives were somehow interlocked
I looked at the girl and Athens with my amazed admiring gaze,
In their own time they gave me back their pulse, their breath,
She walked with springtime grace
Garlanded with warmth and an enchanting smile
That I caught on to within her eyes,
Through mine I gave her my captivated gaze,
By chance she unlocked a door my charmed life
Let’s hold on, search for the sun
Enjoy it all with no show at all
It’s all ours, ours for the fun
Let’s find the road and just go
Let’s look up towards the light
Enjoy ourselves throughout the night
The day and night are ours alone
Let’s pass the hours, feel the warmth of home
Let’s live life with what we have
Not bother with what we have not
What we have is precious love, a desire to live
Let’s hold on we have the sun
We have bays buttered by it too
We have the sun and moon the rain
We have our smiles, our laughter and the flowers
We have our hearts our minds and thoughts
We have our garden, no not Eden ours
With trees for shade, a stream that runs through
Plums and pears and tart apples too.

There was a time when nothing seemed to fit, nothing made sense, and then came. It crept up slowly and then swallowed me. I sipped white wine and nibbled on food, and the hours went by. Suddenly, the words nothing is what it seems to be shouted themselves out at me.

None other heard, and I was not aware of others.
Confusion awakened in the dark of night, I left my dreams behind.
I stumbled towards day to find that nothing quite makes sense.
But all are talking, mouths close and open, moving fast and slow.
Devoid of sense with nothing adding up.
And when it does, it adds up to represent some zero-sum.
Yet all including me are writing.
Typewriters tick and tap away, and sheets fall out.
Pages littered with a’s and b’s and m’s and n’s not to forget the y’s and z’s.

With far more space than ink, like an unknown atom’s alphabet.
Electrons in full chase around a proton-neutron epicenter that may not hold. Reams role for replication to multiply memos meaningless.
But no one says a single word while all are talking, scribbling words on paper scraps.

Pursuing thoughts a sentence here a few lines there stretching a paragraph somewhere.
With a little more teasing, it stretches to a page of typewriter fodder.
Tick and tap, tap tap, and tick the memo shuntered to the replication tray.

Some memo of menace, so beware.
Perhaps the country’s call for cannon fodder to feed some war.
While controlled conversations behind closed doors.
Much said, but making no sense at all.
Where all action is delayed and mock decisions with certainty are made.

Confused not knowing what to do, perhaps put down my pen.
Return to sleep, hoping to catch up in a better world of dreams.
When I was young, I never thought of going to America. When I was still young, I did, and I loved it. I made good friends for life and went back as often as I could. One of my dreams is to make my American last stand in CHICAGO.

Strange notes between Chicago and Athens, from fun to serious and sometimes furious conversation. To be read for me by Ed at the International Club if he remembers, and with poetic aplomb instead of his typical reformer style. Tonight, I can think of no better place to be than to be with you, all of you. So let it happen in thought and memory. A moment of recollection, please, a minute only; I don’t want to take you away from a great chef’s food. Put down your forks, Erich, please put down your fork and lift up your glasses; I see that’s easy! We toast you from afar.

I remember you all so well and clearly: the Dean of Deans who tangoed with his wife in Argentina better than any dago, a medical educator who rants on poverty, a great working man’s doctor whose son is in Hollywood and a TV star. Erich with an h, Ed, and Captain who discovered the dread disease of carbitus, T&D, Tom with the wooden leg, Henry White and Linda Matilda, books and magazines stacked in stable perfection with a central window through which its holed-up occupant could be seen working in his office, and through which, if necessary, the phone could be passed. In my mind’s eye, I see Erich with Fran, Linda knocking back the margaritas in Mexico, Ed asking me mischievously on which side of the bed I wanted to
sleep in front of the bellboy… Of course, there is George; his only phrase is “no salt,” said loudly.

My friends, my captain, Zhivago and Zorba have taught me much: that under no circumstances must I despair; to hope and to act is my duty. So here goes. The Jeff Lifetime Achievement Awards tonight go to two distinguished Americans jointly shared by Jolly Jean and Friendly Fran, with the recommendation that the boys keep the money implicit in this ever so meritorious award for an occasional coffee or for the tip of the night. Erich gets Dekano of Dekanos Award, and Captain our captain Ed gets the World Community Service Chalice.

From the eastern flank of the land of Ez [as in Eurozone]: No Dorothy here, only scared crows; no cowardly Lion, just lion-hearted politicians, pronounced in the King’s English as “lyin.” No Tinman, only pilfered copper… while the streets are full of rag, bone, and tag men collecting (that’s what it’s called) all things in reach in sight: street lamps, public telephones, cables…

don’t park your old car anymore here; coming back, your calls to insurance will go unheard…
Many on the streets are insiders; some come from outside of Ez… some come from over the rainbow… while others are over the rainbow. Meanwhile, the government of Ez expects its patriotic people to keep coughing up to keep the coffers topped up and spilling over.

Meanwhile, all the Punch and Judies and the Black Georges wonder why the coffers are well below the Plum-rose line. While most are coughing up coin, our saviors circulate and drink wine… the Plimsoll line plummets and the basic basket grows smaller with less salad, no more salad, and no more salad with feta cheese…

Dear friends, you have helped make a difference…In celebration of her long life, many are the things that bound us together: from breakfast to Obama, from bagels to buns, from Chicago to Athens, from fun to serious conversation, from vodka (gin) and tonic with a twist to wine that sometimes tasted of the tar (Retsina), from hot-
hot coffee to Greek coffee, from love and affection to affection and love. Her husband was my mentor and taught me neuro-physiology.

Leaning seemed to come easily as he handed out tall glasses of vodka and tonic with a slice of lemon topped up with perfect cubes of ice. As the sun sets or rises slowly in the western and eastern sky, we are confident that day or night will arrive, maybe thinking that the dawn of hope will come for man to live peace on earth, his ultimo besoin.

Lines for a world day of peace
It’s quite clear here, right at the center of it all.
In Delphi, where the gods still prevail.
It’s not too late to build back better, and a better one.
Urged on by mountains tall and still agaze on Marathon.
While Marathon still looks upon the sea.
While here we stand with gods and free.
On this most precious special day.
Hopeful that we can hail in peace.
Yes, it is clear; no, it is not too late.

To build for all mankind a better fate.
Can we stop; slow down the undoing of our world?
The burning, flooding and polluting of our souls
Restore our world to glory in hope and splendid green-blue oceans, sunset’s red, rivulets, and flowing streams. Where men all
and women too are equal and all free.

Can we redo our world? Improve it for all offspring.
Such wonders are the words and phrases I can hear when I think
They tumble forth differently each time but are always woven together as a captivating collage.
They come mainly from a lyrical dialogue between East and West. If I can retain rhythm and musicality and remain recitative with recurrent words and transient, what follows may well be called a poem. I give you a bouzouki and three peacocks with bejeweled tails.

Cross-cultural musings
I came to buy bread, 6 I am, and never left the street.
The street is now renamed for the missile.
Here where the clock stopped and Despots bicker over truth.
Where lies and misinformation rule the roost.
15 I am a hostage, held because of my darker, deeper skin.
Innocent on the threshold of life uninvited horror came to my door.
No drip of water; now the pelican for me is dead.
Earth has become a stray dog, kicked by a military boot.
Carry my soul to the palm reader; take it to be fingerprinted.
Two banks of one World River.
The West is behind, but the East is not before.
Devils are in the Orient, tyrants too, but the bleeding finger does not speak.
The weavings of the winds are sparks that can kindle imperial cities.
Listening to the stars is a singular experience multiple in meaning.
Flames raging furiously, thoughts breathe, words burn, and wine intoxicates.
What can we do with this already crumpled world?
What can we do with this already unmade world?
Underway is the way, and we can only finish the journey.
On every path from desert to town, I wander with caravans.
Trade in shawls, coffee, and musk.
Through bazaars, past donkey carts lining the dirt road.
With rosary beads draping my hand.
And crimson shades, Eastern roses, the Roses of Shiraz.
The cup of Jamshid, obedient water, and worlds contained within the wine.
To sip, kiss over kiss.
A rose of hope, the stupidity of hate, and hope in harm’s way.
Insane shadows, I tasted them and spoke them, though I said I wouldn’t.
Ruffled locks near midnight, you come in disarray.
Return for a night as the moon turns full.

Fiery eyes and eyes of fire, the loveliest things she owns.
Love, listen to me at night, most of all at night.
The time will pass, all must change.
What is human and what is stone?
At dusk I stand beside the well in which the moon is trapped.
Face darkness of the coming night, the terror of the waves.
Look up to read the cosmos as a sacred text, a perfume that is love.
To read the first alphabet that declares our human grace in Persepolis.
A glance of the beloved! My ancient love is she asleep?
Who lies beneath your spell, tonight?
Loves, take me home again but not to that house, especially not at night.
She still looks for the man who used to burn inside her blouse.
His search is for the hundred qualities of a camel.
To plunge into a lightning storm.
Oh so rosy lips and cheeks, those lily hands of sheer delight to poets.
More precious than all the gems of Samarkand.
Gardens are not for those who do not crave to know the flower’s soul.
Upon the fates will be bestowed a rose of hope.
Return me to lemon trees in blossom and the cicadas call.
The devil takes no interest in dry old bones that lie at peace.
He fell through a smashed-in anger mirror.
To find himself alone on the other side.
On the edge of a forest, looking into a large swamp.
Take me to the river where fish fall in love three times a day.
Three times a day, they kill themselves.
No better way to enter heaven, than a return to stone, no heart.
In the crimson shade of stars, you’ll find my grief concealed in verse.
A falling meteorite from high above connects heaven to earth.
Whereupon unfold both sacred and profane in black stone.
Where are you from, again the same old question.
I am a prophet of myself, without religion or followers.
Not even on myself do I impose my invitation.
To sit in burnt-down places on either bank of the river of the world.
While from today’s day and tonight’s night.
Ask not to demand anything but what yesterday did bring.
For up there upon the roof, up on the roof a peacock stands.
A peacock stands upon the roof.
Faraway places with gods in control.
Once a young man from a faraway place used a big stick to beat upon snakes.
Walking by day and by night, over tall hills and through lonely valleys, came upon coupled
snakes in primeval thrill.
Warmed by the sun’s rays, releasing such reptilian passion the young man tried hard to subdue
a thrill and passion.

He could, should have left well alone, gone on, made his peace but without rhyme or reason he stopped the snake’s fun.
How could he not have known that nothing goes unknown or unseen as when his stick was struck by gods all of Greece?
Anger came fast to Hera and Zeus he said her you must play by my rules, preserve love and life, and ensure it for fools.
You are he bellowed the goddess of the bridal bed and native bliss, get angry much more turn Tiresias into what you wish.
The youth Tiresias changed place took up womanhood spent seven years in girlish form.
She stayed like that and played the field until she met again by chance a pair of coupled snakes.
Still young now worldly wise he downed his stick let them mate and whereupon Hera took away all of his womanly ways.
Time passed, and Zeus to Hera said sex is enjoyed by women more than men which got her well worked up said tis not so.
They bickered on and on in high dispute tis so says Zeus tis not Hera replied until abruptly they decided to ask someone.
Someone who’d played both roles quite well enjoyed sex with a woman and sex with a man.
One only they knew who’d lived both lives for sure the still young Tiresias who had lived life with and without a stick.
So the young man from a faraway place who hadn’t let seven years slip idly by was now recalled to settle the case.
Zeus and no other god had had such a unique fun stated clearly their query and loudly of his and of Hera’s Tiresias now far too big for his occupied boots delivered a verdict, women relish nine men only one if sex has ten part.
Hell hath no fury like Hera’s and now greatly displeased decides to punish Tiresias with all loss of his sight Zeus now aghast but with his hands tied, no power to heal him and restore his lost sight
so he granted him long life, Life of a wise seer expert on sex with his erudite knowledge Revered by Homer in faraway places and in Oedipus Rex.

At the heart of the Aegean on a small island called Pserimos, whose population is less than 20 but currently about 2000, as a result of tourism, the concept of smart islands was Once upon a time, children ran wild like cappers there, which gave the island its other name, Caparri. It also resulted in this poem dedicated to a wise teacher who years ago remembered 100 pupils in the local school. Her wisdom is larger than her island. And yet another image leaps to mind, with myriads of schoolchildren streaming down a narrow, dusty road towards home when school lets out. It was in Gaza!

Tranquil and reflective Aegean Isles
Pserimos in summer, and the sun shines bright.
Fiercely in early afternoon while slowly moving towards dusk and night.
Day’s end is still yet one whole eternity away.
But it will come as surely as the tide will turn.

Then will the sun descend to sink beneath eternal waves.
A rising moon will lift off to ride above the darkening earth.
Full bloom and full, full as if in high flown birth.
Laced beams of silver, flitting through the citrus grove.
Fireflies flirting in a purple painted light.
Dry, blemished leaves, brushed arrestingly by the lemon’s yellow afterglow.
Olives dancing shimmering upon gnarled ancient trees.
Scintillations surprisingly softly falling on the eyes.
Dreams to be remembered and tenderly recalled.
Smells of strained soil with brave blossoms wafted by a breeze.
Greek fire, warm drops in sand of pooling wax beneath an icon’s glow.
Copper hammered cross by weight of age subdued.
An old church whose eyes have within its gaze untold pain.
Where the dark-eyed virgin mother of the world.
Gives solace and sets in flight waves of worldly inspirational light.
With Cassiopeia high above caught once again in the midnight flight.
Caught up in Meltemi’s daytime forceful energetic wind.
Declining to a cooling evening breeze.
Caught up in the Aegean’s gentle fall and swell of tides.
Wrapped in a silvery linings through the starry sky.
Graceful and flowing along the wide stretching Milky Way.
Those isles of Greece, the pleasing Dodecanese.
Where mysteries of numbers and the universal harmony became known.
To that ancient, awesome, penetrating, and thoughtful gaze.
Where know-thyself was perceptively admired, esteemed, revered.
Where Apollo’s sun and scepter were bright, Prometheus’s warming fire held sway.
Attended by a sometimes sad and woeful moon, sometimes a simple silver sphere.
Where the early morning and the evening stars became the same and one.
Where lovely Aphrodite beguilingly arose above the ruffled waves.
Where a cool Venus rose above and set within a wine-dark clouded sea.
Where lovely Aphrodite and cool Venus rise from and descend within the sea.
The Isles of Greece are the Isles of pure delight.
Apollo’s light cannot be absent there for long.
Pythagoras knew his numbers well and fled from Sammian tyranny there.
Hippocrates who never harmed a soul, and Socrates, who knew yet knew not at all.
Those Isles where philosophy survives and all is well.
On a small isle and gentle Grecian site, called Pserimos.
Poems end never, mine yes

My words come to an end but poetry goes on and will go on. Writing poems should start early, as early as possible. It is when young when our senses can register the earth-shaking and when our brain has the agility to make up its mind on the direction that life will be taken. If life is lived in freedom it comes easy to the few that take the road less traveled by. Far too many lives unfold in unequal worlds with ever-present, slavery to fear, and want, making it too hard to set free its abundant talent. In the twilight between those worlds, talent can be suspect as when a writer was hauled in by the state police and asks why, saying he has done nothing wrong?

You write books don’t you which people are reading, so you must have done something!
When young the earth shakes while the bell rings for old men who continue to tilt at windmills as bell’s toll. As students in search of our Earth’s heart-beat, we learn that there are bridges over which marching soldiers have to break step to prevent collapse and that the flutter of butterfly wings in another place yesterday is the reason for the storm overhead, today.

Tomorrow will always remain unknown except to the poet, while philosophy can shed light in its early dawn.

Alchemist of Sorrows

By Alex S. Johnson

For Cassandra Alogoskoufi

After Baudelaire

“As the Orpheus of all secret misery, he is greater than anyone:”-Friedrich Nietzsche, Die fröhliche Wissenschaft

Standing in the moon drop shadow’s hidden alcove

Watching the spiders of the rain disintegrate and turn to smoke

I admire the solemn procession of marble angels that sweep their

brooms diagonally across the looking glass

Involuted architecture, frost giants with the glazed eyes of

Galactic law

The fatal symmetry of a rainbow cutter ship

Odysseus’ swift fleet notwithstanding

In Circe’s lair he pollinated witch nations

In the eye of Polyphemus he discovered the glyphs of demonic altars

Cave paintings of the Orphic mystery rites

Bacchus torn apart and recreated

as a stand-alone objet d’art, his head crowned with an

aurora of violence, misty violet dawns from

Arthur Rimbaud

As the rotting Leviathan drifts in star sperm

As the empire of blood-crusted widows draws eyes in the

moon’s shy footprint

As the bleeding deer shudders in split-second Cubist increments but obeys the high ritual of Diana and does not die

Not yet

Not eternally yet

Our hearts draw oxygen from the secret sails of the sun

We respire with lungs made from the winds of the

wings of

Madness

We fly to a Hell sitting balanced on a small planet juggled along

with stars

with rippled stripes of radical freedom

with what queer jesters they have to do

With black-eyed Oedipus they seek the cause

they disregard the Sphinx’s leonine muscles, glistening

pelt that roars with lies

that fools crash, the Siren’s cove where sailors drown

the fortunes of heroes shorn like the head of Orpheus

Descending beneath the earth, as the jaws of destiny

close about him…

An alchemist of sorrow, he turns the Midas touch

against itself, mourning perpetual dawns.

και εμπνευσμένου μετά του Μπωντλέρ

“As the Orpheus of all secret misery,

he is greater than anyone:”-

Friedrich Nietzsche, Die fröhliche Wissenschaft

Στέκεται ως σταγόνα φεγγαριού

Κόντρα στον κρυφό σηκό σκιάς.

τις αράχνες εγκαθορεί, όπως διασπώνται

στην καπνισμένη ομίχλη της βροχής.

Αποθαυμάζει την πανηγυρική λιτανεία

μαρμάρινων αγγέλων που παρασύρουν

ανάποδα τον κόσμο σκουπίζοντας

διαγώνια το είδωλο καθρέπτη.

Πεπλεγμένη αρχιτεκτονική από γίγαντες

παγετώνες με στιλβωμένο βλέμμα

Καταπάνω στο γαλακτικό μάτι του νόμου.

Η μοιραία συμμετρία στο ουράνιο τόξο

παγοθραυστικού, αλματώδης πάραυτα

και γοργόπλοος ο στόλος τ’ Οδυσσέα.

Τ’ άνθη επικονίασε με έθνη μαγισσών

μες απ’ τη δόκιμο φωλιά της Κίρκης

Στον μονόφθαλμο Πολύφημο ανακάλυψε το

μάτι και τη γλυφή ενός βωμού κακοδαίμονος.

Οι σπηλαιογραφίες τελετουργούν ακόμα

τα Ορφικά Μυστήρια, το ξέσκισμα

του διαμελισμένου Βάκχου, και την

επανένωση του κορμιού εις σάρκα μία

Ως ένα αυτεξούσιο έργο τέχνης, το

κεφάλι του εστεφανώθη την κορώνη

Από την εωθινή Ηώ της βίας,

Απ’ τη μενεξελί πορφύρα της αυγής

Απ’ το λυκόφως του Αρθούρου Ρεμπώ,

Όπως το κουφάρι του Λεβιάθαν σάπιο

παρασύρεται στ’ αγγειόσπερμα αστεριών

Όπως μια αυτοκρατορία μαυροφορεμένων

που πήζουν τον θρόμβο παλαιών πληγών

θωρώντας τα τρυφερά χνάρια στα φεγγάρια

Όπως το πληγωμένο ελάφι τρέμει από τις

αιρετικές προσαυξήσεις των μετακυβιστών

Όμως, υπάκουο υπομένει στη μέγα τελετή μύησης

-τη Θεά Αρτέμη- σώνοντας εν τέλει τη ζωή του

Όχι. ακόμα. Όχι. στην αιωνιότητα του ακόμα.

Οι καρδιές μας αντλούν οξυγόνο απ’ τα

αφανέρωτα ιστία του μυστικού ήλιου

Αναπνέουμε με πνεύμονες φτιαγμένους

απ’ τους ασκούς του Αιόλου με τα φτερά

μας κόντρα στον κουρνιαχτό της τρέλας

Πετάμε στην άβυσσο της κόλασης καθιστοί

σε ισορροπία πάνω σ’ έναν μικρό πλανήτη,

Ταχυδακτυλουργώντας με κρίκους αστεριών.

με ριγέ κυματισμούς ριζοσπαστικής ελευθερίας

για την κατάντια του ετεροδιαφορετικού ζογκλέρ

για την αιτία στα μαυρισμένα μάτια του Οιδίποδα

Γιατί οι ανόητοι αγνοούν τα λιονταρίσια μούσκουλα

της Σφίγγας, που με αστραφτερή δορά ψεύτικα βρυχάται

Καθώς, συντρίβονται οι μωροί, στον όρμο της Σειρήνας

Πνίγονται, εκεί, οι ναυτικοί με την κοντοκουρεμένη

ειμαρμένη των ηρώων, σαν το κεφάλι του Ορφέα

που σκύβει κατεβαίνοντας στον Κάτω Κόσμο, τα

σαγόνια του πεπρωμένου συνθλίβονται σιμά του

Ο Αλχημιστής της θλίψης, αποστρέφει το

άγγιγμα του Μίδα ενάντια στον εαυτό του,

εις το διηνεκές θρηνεί για τη χαραυγή του…

Cassandra Alogoskoufi is a distinguished Greek artist whose extensive talents span writing, poetry, playwriting, and visual arts. Born in Athens, she currently resides on the picturesque island of Salamis while working as a shipyard clerk in the nearby area of Perama. Cassandra’s academic credentials include two notable degrees: one in Informatics and Telecommunications from the Kapodistrian University of Athens, earned in 2009, and another in International and European Studies from Piraeus University, completed in 2023. This academic background provides her with a unique intersection of technical and cultural knowledge, enriching her artistic endeavors.

Her creative output is broad and multifaceted. She has actively contributed to approximately 50 anthologies, showcasing her poetry, short stories, and prose across a diverse array of themes and stylistic approaches. Her literary work is characterized by magical realism and a deep exploration of narratives that bridge reality and imagination. Cassandra’s poetic voice captures emotions and human experiences with eloquence and originality, while her prose adds layers of complexity and nuance.

Beyond writing, Cassandra is a skilled visual artist, working primarily with acrylic painting and other mediums. Her artworks have been featured in various magazines, reflecting her ability to convey narratives and emotions visually as well as through words. Cassandra’s talent has received international recognition; she represented Greece at the BJCEM Biennial of Young Creators in 2009, a prestigious festival that unites artists from 27 countries working across seven artistic disciplines.

Her artistic development has been nurtured through significant scholarships and residency grants. She was awarded a two-year scholarship from the Institution of Takis Sinopoulos (2007–2009), a Cimo scholarship from Finland in 2009, and a residential scholarship at the Literature House of Paros, known for its European Center of Literary Translation. Cassandra has also apprenticed under numerous respected mentors in literature, theater, translation, and dance, shaping her versatile artistic identity.

Living with her family and a pet parrot named Tito, Cassandra continues to balance her professional work with a vibrant creative life. Her artistic journey is marked by continual growth, cross-disciplinary engagement, and contributions that resonate within and beyond Greek cultural spheres. Her work not only enriches contemporary Greek literature and art but also leaves a lasting impression as an innovative and dedicated creator.

Alex S. Johnson is a prolific American author and multidisciplinary artist whose creative legacy spans genres including Bizarro fiction, erotica, horror, and science fiction. At 57 years old, Johnson has amassed a diverse professional background encompassing roles as a college English instructor, music journalist, editor, publisher, songwriter, human rights activist, poet, and visual artist. He resides in Sacramento, California, carrying a rich blend of cultural experiences and artistic influences.

Johnson’s educational foundation includes a Master’s degree in English literature with an emphasis on Rhetoric and Composition. His early fascination with writing began in elementary school, where he initially crafted stories about anthropomorphic fruits and vegetables. His literary tastes and writing style are heavily influenced by icons such as William S. Burroughs and Hunter S. Thompson, blending intense, hyperbolic narratives with layers of showmanship and cheekiness.

His bibliography includes novels such as “Bad Sunset,” a stylized Spaghetti Western infused with Bizarro and splatterpunk elements, and “Jason X IV: Death Moon,” a science fiction/horror tie-in for the Jason X movie series. Johnson’s collections like “Wicked Candy” and “Doctor Flesh: Director’s Cut” further showcase his unique approach to genre fiction. He also edited anthologies like “Axes of Evil,” which centers on horror stories connected to heavy metal music culture.

Johnson’s writing often explores profound human emotions and psychological depth beneath exaggerated or surreal premises. For example, “Bad Sunset” features Jesus Christ as a protagonist, blending archetypal and mythical characters to probe themes of spirituality, skepticism, and individual moral navigation. His works balance entertainment with philosophical undercurrents, reflecting his skepticism of religious institutions and emphasis on personal enlightenment.

Actively involved in the literary community, Johnson has contributed to specialty anthologies inspired by H.P. Lovecraft and William S. Burroughs and maintains an ongoing presence in both writing and editing within speculative fiction circles. Apart from writing, he enjoys drawing, playing guitar, and engaging with film and music cultures, which inform his artistic creativity. Johnson’s career is grounded in a love for words and storytelling more than commercial success, emphasizing a lifelong commitment to artistic exploration and sharing imaginative landscapes.

Teaching types of speech activity 

 Student of Andijan State Institute of Foreign Languages  Abdullajonova Rayhona Arabjon qizi   +998886630603 

 Abdullajonovarayhona874@gmail.com  Scientific Supervisor: Qodirova Nargiza 

Anmerkung. In diesem Artikel werden die Arten von Sprechaktivitäten und die  Methoden ihres Trainings analysiert. Grundsätzlich wird der Unterrichtsprozess des  Sprechens auf Deutsch mit der usbekischen Sprache verglichen. Der Artikel  analysiert eingehend Möglichkeiten zur Entwicklung des Sprechens, des  Hörverständnisses, der Lese- und Schreibfähigkeiten, methodischer Ansätze und des  kommunikativen Ansatzes im Sprachunterricht. Jede Art von Sprechaktivität ist eine  wichtige Phase des Sprachenlernens, und sie entwickeln sich in gegenseitiger  Abhängigkeit 

Annotation. This article analyzes types of speech activities and methods of their  training. Basically, the teaching process of speaking in German is compared with  the Uzbek language. The article analyzes in depth ways to develop speaking, listening comprehension, reading and writing skills, methodological approaches, communicative approach in language teaching. Each type of speech activity is an important stage in language learning, and they develop interdependently. 

Schlüsselwörter: Sprechaktivität, Deutsch, Methodik, kommunikativer Ansatz,  Sprachunterricht, Lesen, Schreiben, Hören, Sprechen 

Keywords: speaking activity, German, methodology, communicative approach,  language teaching, reading, writing, listening, speaking 

Speech activity is a means of satisfying basic communicative needs of a person. In  any language learning process, four main types of speech activities are distinguished: listening comprehension, reading, writing, and speaking. These skills  are seen as complementing and reinforcing each other. In modern language teaching  methodologies, the integrated training of these four skills is required. The same is  true for the study of German. This article examines each type of speech activity  separately and analyzes the differences, similarities, methodological approaches in  their teaching in Uzbek and German. In addition, the types of exercises used in the  formation of each skill, the structure of the lesson, the role of the teacher, and  methods of working with students will be extensively covered. 

1.Listening comprehension skills. Steps of Teaching Listening Comprehension in  GermanTypes of Listening Material (Audio Recordings, Video, Live Speech)Exercises: Global, Selective and Detailed Comprehension. Phonetic  differences in the Uzbek language and German, problems of pronunciation. The role  of context in listening comprehension. Listening comprehension is one of the core  skills in language acquisition. It not only supports oral communication but also helps  internalize pronunciation, intonation, rhythm, and syntactic structures of the foreign  language. In German language learning, listening plays a particularly crucial role  due to the language’s phonetic complexity and sentence structure. Steps of Teaching  Listening Comprehension in German.

The teaching of listening skills generally  follows a three-phase structure: 1. Pre-listening phase – This phase prepares learners  by activating prior knowledge, introducing key vocabulary, and setting the context.  It may include prediction exercises, discussion questions, or vocabulary  brainstorming. 2. While-listening phase – During this stage, learners engage with  the audio material. The teacher may focus on: Global comprehension: understanding  the general meaning or topic. Selective comprehension: identifying specific  information (e.g., numbers, names, dates). Detailed comprehension: analyzing and  understanding all elements of the text.

3. Post-listening phase – This involves  reflection and integration of the content through follow-up tasks like summarizing,  discussion, role-play, or writing a response. Types of Listening Material. A variety  of materials should be used to expose students to different accents, speaking speeds,  and contexts: Audio recordings: radio broadcasts, podcasts, dialogues, songs. Video  materials: TV programs, films, vlogs, documentaries. Live speech: conversations  with native speakers, guest lectures, interviews, or teacher-led storytelling. These  materials should be both authentic (real language use) and didactic (adapted for  learners’ levels), depending on the objectives of the lesson.

Exercises for Different  Comprehension Levels. Global comprehension tasks: identifying main idea, mood,  or theme of a recording. Selective listening: finding specific data (e.g., price, time,  place). Detailed comprehension: understanding cause-effect, opinions, or implied  meanings. Matching tasks, true/false questions, gap-filling, sequencing events, and  answering open-ended questions are effective formats. Phonetic Differences: Uzbek  vs. German . Uzbek and German differ significantly in phonetic structure: German  includes umlauts (ä, ö, ü), the ‘ch’ [ç] and [x] sounds, and the glottal stop, all of which  are absent in Uzbek. Stress patterns in German are more variable, whereas Uzbek  generally follows a more regular stress system. German consonant clusters can be  challenging for Uzbek speakers (e.g., Strasse, Frühstück). Vowel length (kurz/lang)  in German can change word meaning, a phenomenon not present in Uzbek. 

2. Speaking skills. Basic principles of the development of conversational speech in  German. Practicing forms of dialogue and monologue. Exercises aimed at  expressing free expression on social topics. Ways to improve speech flexibility and  vocabulary. Role plays, interactive lessons in language teaching. Conversational  competence in German is considered one of the central goals in foreign language  acquisition. To master spoken German, learners must develop not only correct pronunciation and intonation, but also the ability to spontaneously produce context appropriate responses, use appropriate vocabulary and grammatical structures, and  maintain coherence in longer dialogues or monologues.

Developmental Principles  of Conversational Speech in German. One of the basic principles in developing  speaking skills is communicative orientation, meaning that learners should use the  language not for rote repetition but for authentic communication. Language teaching  should therefore simulate real-life situations, where learners have to interact  spontaneously and meaningfully.

The development of speaking skills follows a  spiral model: initial basic speech patterns (greetings, self-introduction) gradually  evolve into more complex communicative tasks (debating, expressing opinion,  storytelling). Another key aspect is automatization – learners should be exposed to  a sufficient amount of practice to internalize language structures to the point where  speech becomes fluid and automatic. This involves repetition, but always in  communicatively meaningful contexts.

Practicing Forms of Dialogue and  Monologue. In language classrooms, both dialogue and monologue forms of speech  are essential. Dialogues foster interactive communication and help learners react to  partners’ input, while monologues encourage organized, extended speech such as  presentations or storytelling. For dialogue practice, some effective strategies  include: Information gap activities, where students must communicate to complete  a task. Interviews and peer questioning. Structured role-plays simulating everyday  scenarios: shopping, asking for directions, making appointments.

For monologue  practice, learners can be tasked with: Describing pictures or experiences. Giving  short presentations on familiar topics. Narrating a story or summarizing a text. Exercises Aimed at Free Expression on Social Topics. These tasks not only build  linguistic skills but also promote critical thinking and intercultural awareness,  especially when comparing perspectives from the target language culture (German speaking countries) with the learners’ own. 

3. Reading skills. Strategies for working with text. Types of texts taught in German:  Informative, Fictional, Formal Style. Development of reading technique: speed  reading, selective reading. Understanding the meaning of a word based on context.  Comparative analysis with Uzbek language teaching 

4. Writing skills. Stages of formation of writing competence in German. Types of  written speech: essay, letter, formal appeal. Correct application of grammatical  structure, spelling and punctuation. Creative Writing Exercises: Story Making,  Screenwriting. Criteria for evaluating written works 

5. Integration of types of speech activities. Methods of joint use of speech activities  in the classroom. CLIL (Content and Language Integrated Learning) training. Task based learning and Project-based learning methods. State Technologies in German  and Uzbek language teaching: online platforms, multimedia tools

Training of speech activities is at the heart of every language teaching system. An  integrated development of listening, speaking, reading and writing is important for  mastering a German language. Each type of speech is related to a different type and  reinforces each other. Therefore, emphasis should be placed on a comprehensively  integrated approach to lesson planning. The effectiveness of the language teaching  process increases through a communicative approach, interactive exercises, the use  of autistic materials. For teachers, this means the need to update their knowledge  and skills, to use modern methods. 

 References 

1.Bimmel, P., & Rampillon, U. (2000). Learning and working techniques German  as a foreign language. Langenscheidt. 

2. Glaboniat, M. et al. (2005). Profile German. Learning objective determinations,  optional descriptions and test tasks. Goethe-Institut. 

3. Nünning, A. (ed.). (2008). Fundamentals of Language Didactics of German as a  Foreign Language. Butcher. 

4. Bausch, K.-R. et al. (2003). Handbook of Foreign Language Teaching. Francke  Verlag. 

5.Funk, H. & Koenig, M. (2010). Target language German. Textbook and  Workbook. Cornelsen. 

6.Helbig, G. & Buscha, J. (2001). German grammar. Ein Handbuch für den  Ausländerunterricht. Langenscheidt. 

7. Thaler, E. (2012). Teaching German as a foreign language. UTB.