In the history of mankind, there are great personalities – they guided the whole society through their life, activities, and heritage, inspiring hearts. Ghulam Shomurod’s book” The Value of the Great ” expresses at a high artistic level the duty to such great people – the need to understand and preserve their dignity.
The poems contained in the book are not limited to reflecting the lives of historical figures. Through them, the poet encourages each reader to reflect, reflect and realize the national self.The words of Ghulam Shomurod are not simple-they are painful, but hopeful; whiny, but patient. In each line we feel the heavy but honorable burden of greatness.
In his work, the poet speaks of the dignity of our great – grandfathers-Amir Temur, Alisher Navoi, Jaloliddin Manguberdi, Zahiriddin Muhammad Babur-as well as figures of the pride of the land, each of whom makes a deep observation about what role model for today’s younger generation, what lessons their life and work are rich in. It is this aspect that determines the uniqueness of the book.
” The dignity of the great ” is
Great heritage of Bukhara.
In the history of mankind, there are great personalities – they guided the whole society through their life, activities and heritage, inspiring hearts. Ghulam Shomurod’s book” The Value of the Great ” expresses at a high artistic level the duty to such great people – the need to understand and preserve their dignity.
The poems contained in the book are not limited to reflecting the lives of historical figures. Through them, the poet encourages each reader to reflect, reflect and realize the national self.The words of Ghulam Shomurod are not simple-they are painful, but hopeful; whiny, but patient. In each line we feel the heavy but honorable burden of greatness.
In his work, the poet speaks of the dignity of our great – grandfathers-Amir Temur, Alisher Navoi, Jaloliddin Manguberdi, Zahiriddin Muhammad Babur-as well as figures of the pride of the land, each of whom makes a deep observation about what role model for today’s younger generation, what lessons their life and work are rich in. It is this aspect that determines the uniqueness of the book.
”The Dignity of the Great ” is not just a collection of poems. This is a textbook of values, a lesson in history, a path to spiritual purification. The book encourages everyone to look back at their roots, recognize their identity, and most importantly – to honor the legacy of our great ancestors.
Obviously, this work can be an important tool in the education of young people, especially in the preservation and strengthening of our nationality in the era of today’s information attacks. The melodic, sermazmun lines of Ghulam Shomurad help young people to find answers to questions about what is greatness, what is value.
In place of the conclusion, it can be said that “The Value of the Great” is a spiritual – spiritual guide book that should be read today and put into practice tomorrow. Each stanza in it is significant in that there is a memory of the nation, confidence in the pride and prospects of our people.
Mauro Montakkyesi, the celebrated scholar and great literary luminary from Rome reviews Epicasia Vol 2.
Thanks to you dear friend for your kind words.
CRITICAL REVIEW OF
EPICASIA VOL. 2
by Dr. Jernail Singh Anand
Introduction: The Prophet of the Post-Epic World
If Epicasia Vol. 1 is a dive into the shadowy soulscapes of postmodernity, Epicasia Vol. 2 is that reverberating thunderclap of an echo, sounding through the existential wastelands of a world where oracles have been replaced by algorithms and morality by mechanization. The indefatigable bard, the radical recorder of spiritual decay, the fearless Jernail Singh Anand brings forth this second epic entwined into twelve epics.
The book isn’t just a work of literature; it’s a mythopoetic manifesto — a confrontation with civilization in all its guises, posing in the form of an epic.
Form and Structure:
The Esoteric Mythos, Satire, Prophetic Voice and Alchemy
From Geet: The Unsung Song of Eternity to The Canterbury Tales, this book is a polyphonic symphony of philosophical dirges, existential satire, and moral cosmology. Anand’s formalism still radiates unconventional power — there are cantos and choruses, soliloquies and satanic stage directions, not to mention sprawling mythological allusions.
The result is not a linear narrative, but a circular explosion of meanings. The structure is cathedral-like: every poem an altar, every stanza a cracked stained glass through which light and darkness simultaneously stream.
Central Themes:
The Banquet of Chaos and the Starvation of Ethics
Post-Edenic Fall and Ontological Anguish
In Geet and beyond, the poetic subject mourns the loss not just of paradise, but of a why. The Adamic lament—“Why was I born?”—saturates the text with ontological exhaustion. Anand dramatizes the Fall not as a single sin but as a recursive error loop embedded in civilization’s DNA.
Satire of Institutions
Religion becomes a showroom of noise. Education, a “Manchester of Non-sense.” Marriage, a Faustian contract disguised in lace. Anand skewers these systems without mercy, not from cynicism but from ethical urgency. The grotesque parodies of The Satanic Guidemap and the Public Square Executions leave the reader appalled and awed in equal measure.
Love, Lust, and the Execution of the Human Heart
In Anand’s universe, Love is not merely spurned — it is guillotined in public. They dress themselves as saints and march in Satan’s infernal parade as Lust, Greed and Doublespeak! Anand’s upending of virtue isn’t just sensationalist, it is his poetic vehicle to diagnose our cultural autoimmune failure.
Philosophy and the Disfigured Logos
Socrates is dragged in chains. Shakespeare becomes a weapon. Plato is marked as dangerous. Anand reclaims them and is then relatable witness to their fall in the streets of corrupted modernity.
He mourns not just lost philosophers, but a lost philosophia perennis—a wisdom tradition defiled by pragmatism and profit.
Stylistic Register:
Sermon, Satire, Scripture, and Song
Anand’s language oscillates between scriptural gravitas and sardonic theatre.
He will channel the Gita in one breath, and call for Marlowe and Orwell in the next. It’s theatrical without being histrionic, moralistic without being tendentious. The rhythm is deliberately uneven: a literary jazz score that mirrors the very chaos it laments.
Innovation: The Dramatic Epic Reborn
Perhaps the most radical feature of Epicasia Vol. 2 is its reclamation of the dramatic epic. Anand does not merely narrate—he stages. Faustus is reborn as a demonic everyman. Satan organizes political conferences. Archangels deliver monologues worthy of dystopian theatre. The result is a hybrid form that redefines what epic poetry can do in the twenty-first century: not just sing of heroes, but dissect their disfigurement.
Comparative Legacy: Anand Among Giants
Where Homer chants the nobility of war, Anand reveals the banality of evil. Where Milton pities the Fall, Anand mocks it, autopsies it, and sets it ablaze. He is closer to Dante in moral scope but more ferocious, less forgiving.
Blanchot’s thought, with its endless horizon of emptied language, comes to mind, as does Bataille and Deleuze; and further back one can hear Blake and Nietzsche.
No modern poet — maybe no poet, period — has more consistently maintained the epic voice over twelve bloated works with such integrity and critical mass. He is not simply reporting on the fall of man; rather, he is erecting a new monument over its ruins with warnings and whispered prayers etched into stone.
Conclusion: Epicasia as Ethical Wake-Up Call
Epicasia Vol. 2 is a catastrophic symphony—an opera of the soul in a world that has replaced sacred rites with credit scores and conscience with convenience. Dr. Jernail Singh Anand offers no easy redemption, but he does offer clarity. And in an age addicted to spectacle, clarity itself is a revolution.
This book should be read not as a sequel, but as a counter-testament: the last light before the temple gates are shut. In Anand, we meet the last epicist standing—a man who will not stop singing, even as the world forgets how to listen.
Anand The Last Lightkeeper
Dr. Jernail S. Anand
In the quiver and digital dust of the age, where empires glitch and anthems fade, stands the Anand, lone upon the ruins’ crest,
a prophet unbent, a spirit unpressed.
His poems—cathedrals crumbled but full with heaven, carved with laughter, sorrow, and backbone, Geet rises as from a phoenix choir, songs unsongs, yet set afire.
He does not talk in sandals but seismic verse, drags Socrates through traffic’s curse, unmasks the Devil in a statesman’s dress, Angels are falling and oracles are a mess.
He cries to Marlowe, Plato, Blake, not for solace, but for the stake. A mythmaker in post-epic frock, his dirges for humanity’s sad sack.
Marriage to him becomes the Faustian mask, education—a mill of empty bands, and love—is guillotined on the marble stand, his pen, a scalpel. His muse, our rage.
A stanza, light cracking glass, a canto, a sermon in easeful night, he sings not of victories but of fall, of dimming logos, of moral crawl.
Oh Anand! Lost flame’s guard, weeps Dante, hides his Milton name. You roar where silence raised the beast, and feast on truth when lies have feast.
Then sing the stanza, chaos let hear,— Anand is the place where all disappear. Not to grieve, but to re-create the song, one last epic, fierce and long.
Shahzoda Ilnar qizi Allayarova was born on May 16, 2013, in Oqtosh city, Narpay district, Samarkand region, Uzbekistan. She is currently a 5th-grade student (Class 5B) at School No. 55 in Oqtosh. Her literary works are regularly published in regional and national newspapers such as “Navqiron Narpay”, “Tong Yulduzi”, and “Bekajon”.
She won second place in the national competitions “Human Rights Through the Eyes of Children” organized by “Tong Yulduzi”, and “Protector of the Green Space” by “G’uncha” magazine. In 2023, she became a laureate and winner of the national “Kamalak Yulduzlari” Children’s Creativity Festival.
Her poems have also been featured in various anthologies including “Scent of Verses”, “A Drop from the Ocean”, “Magic of Words”, “The Creators I Seek”, “Beloved of My Nation”, “Joys of My Life”, “Young Talents”, “Masters of the Magic Pen”, “Toward My Goals”, as well as the Turkish-language anthology “Geleceğin Liderleri” (“Leaders of the Future”) and the English-language “Girls Nation”. Additionally, her works have appeared in international publications such as “Raven Gage” journal and “KENYA TIMES” newspaper.
THE USE OF INNOVATIVE TECHNOLOGIES BY EDUCATORS IN THE TEACHING PROCESS
Abstract: This article discusses the concept of innovative technologies, the use of novel educational tools by preschool educators, and the importance of employing ICT to improve the quality of education.
Today, we must remember that the profound transformations taking place in our society’s economic, social, political, and cultural spheres are closely connected with the education system—recognised as the main driver of intellectual development for our country’s future. As in other spheres, new methods, approaches, and technologies are being developed and implemented in education. One of the most effective tools in today’s educational system is innovative technologies. These tools enhance clarity, engagement, and retention of information for learners, leading to multiple positive outcomes. First, let us clarify: what do we mean by “innovation” and “innovative technologies”?
Innovation, as defined in the Uzbek National Encyclopedia, refers to:
Investment in resources to enable replacement of technological generations.
Scientific, technical, managerial, or organizational innovations based on advanced achievements and practices, applied across various fields.¹
According to V. A. Slastenin, innovation is a goal-oriented process aimed at creating, disseminating, and applying new methods that satisfy social needs and stimulate aspirations.²
Innovative technology combines “innovation”—meaning new ideas—and “technology”—derived from Greek roots “techne” (art, skill) and “logos” (science). It implies a new perspective on educational forms, methods, and approaches. In pedagogy, innovative technologies introduce novelty and transformation into teaching and educational activities.
When using innovative technologies, educators should possess:
Knowledge and skills in ICT (Information and Communication Technologies);
Awareness of new pedagogical technologies from global practices;
Competence in applying interactive methods and engaging didactic games;
Deep understanding of advanced pedagogical techniques;
Ability to translate theoretical knowledge into practical skills;
Capacity to use the internet effectively (where available);
Ability to integrate active play in sessions;
Commitment to lifelong professional development and staying updated with innovations.
An educator implementing innovative technologies may use tools like computers, projectors, electronic boards, and similar digital resources. The broader their use of such technologies, the richer and more diverse the content they can deliver. Educators can even design new technologies tailored to their subjects—innovation is not static but evolves through creativity and adaptation.
The primary aim of using these technologies is to foster shared engagement between the teacher and students, increase children’s motivation and interest, cultivate eagerness for learning, and develop practical skills for real-world application.
To achieve this, educators must be able to choose and integrate subject-appropriate ICT and didactic materials. Even compelling content can become uninteresting or ineffective if paired with inappropriate technology or delivery methods. The educator’s ability to wisely select interactive methods and communication tools plays a key role in effectiveness. Aligning teaching sequences with students’ needs, interests, and learning levels is essential for productive sessions. The more effectively the educator uses ICT, the higher the resulting impact.
Based on the above, we arrive at the following conclusions:
Innovative technologies serve as educational tools that elevate teaching effectiveness, enhance methodological practice, and engage learners in the educational journey.
The extent to which educators can deploy these technologies depends on their pedagogical proficiency and professional knowledge. Today’s educators must stay informed about updates and know how to use modern ICT tools to organize effective teaching processes.
References
Z. F. Sharopova, Educational Technologies, Tashkent: Navro‘z, 2019.
J. Saparbayev, Lecture Notes on Pedagogical Technologies, Nukus, 2010.
J. O. Tolipova, Pedagogical Technologies: A Factor in Creating a Friendly Environment, Tashkent: UNICEF, 2005.
Karimova Navbaxar Mahmudjanovna Born on March 25, 1984, in Gurlan district of Khorezm region, into a family of intellectuals. From 1990 to 1998, she studied at School No. 1 in Gurlan district. From 1998 to 2001, she continued her education at Gymnasium No. 6 in Gurlan, graduating with excellent marks. Between 2001 and 2003, she studied in the Nursing field at the Electro-Medical Technical School in the capital city, Tashkent, and successfully graduated with honors. From 2020 to 2025, she completed her bachelor’s degree in the field of Preschool Education at Urgench State University. Currently, she is working as an educator at Preschool Educational Institution No. 9, a multi-disciplinary specialized preschool institution under the National Agency for Social Protection under the President of the Republic of Uzbekistan, located in Gurlan district, Khorezm region. She is fluent in both Russian and Turkish.
In 2023, she was awarded the badge of honor “Devoted Specialist of Her Profession”.
In 2024, she was awarded the badge of honor “Top Scientific Researcher of the Year”.
In 2025, she received the honorary badge “Excellence in Preschool and School Education”.
She is the author of the methodological guidebook “Inclusive Education in Preschool Institutions”. Her published books include: “Towards My Goals”, “For You, Dear Child”, and “Discoverer Children”.
She has published numerous articles in international newspapers and journals.
Her article “STEAM Technologies in Preschool Institutions” was published in Turkey in the book titled “Leading Women and Girls of Uzbekistan”.
Globalization and the Lost Identity of a Generation
“Modern wars will no longer be fought with weapons, but with ideas. The goal will be to distort the thinking of our youth.” — Islam Karimov, First President of Uzbekistan
We live in an era where information travels across continents in seconds, where a cultural shift in one part of the world can influence the mindset of a young person thousands of kilometers away. This is the power—and the peril—of globalization. And in the heart of Central Asia, in countries like Uzbekistan, it’s not just progress that is arriving at our doorsteps, but also a silent crisis: the cultural and spiritual erosion of our youth.
The 21st century is marked by technological triumphs. Our lives have become more connected, more informed, and more digitized. Yet in this wave of innovation, young people in developing and post-Soviet countries find themselves torn between tradition and trend. They are learning, evolving, and adopting—but at what cost?
When Progress Threatens Identity
There is nothing inherently wrong with globalization. In fact, it offers invaluable opportunities for learning, innovation, and cross-cultural exchange. But each nation carries with it a unique soul—embedded in its history, traditions, and moral values. For Uzbekistan, this identity is rooted in the legacy of thinkers like Alisher Navoi, Ibn Sina, Al-Khwarizmi, and Al-Biruni—giants whose wisdom once shaped the course of human knowledge.
Yet today, many of our youth struggle to name these intellectual forefathers. Instead, they idolize imported pop culture, replicate global social media trends, and embrace superficial modernity that often contradicts local values. From imitating art forms born in foreign contexts to defacing historic buildings with graffiti in the name of “expression,” we are witnessing a cultural drift that can no longer be ignored.
This is not an argument against modernization or art. It is a call for balance. A plea for young people to know where they come from before deciding where they are going.
The Cultural Cost of Belonging Everywhere—and Nowhere
In an attempt to belong to a global narrative, many young people are losing touch with their own. Cultural pride is not nationalism; it is self-respect. And preserving heritage does not mean rejecting the world—it means entering it with dignity.
The future of our youth must not come at the cost of forgetting the past. The ancient cities of Samarkand, Bukhara, and Khiva are not just tourist destinations; they are breathing textbooks of our ancestors’ contributions to science, literature, and philosophy. When these landmarks are defaced, when traditions are mocked, it is not just stone that is broken—but memory, identity, and self-worth.
Moving Forward with Roots Intact
Technology is here to stay. Globalization will continue. The question is: Can we raise a generation that embraces the modern world without abandoning its own? Can we empower young people to be both connected to the globe and grounded in their culture?
We must. Because only when young people know who they are, will they know how to lead.
Dilobar Maxmarejabova Elbek qizi is a second-year student at the University of Journalism and Mass Communications, majoring in Philology and English Language Teaching. She is passionate about topics such as youth, spirituality, globalization, and cultural heritage. Through her writing, she seeks to draw attention to pressing social issues and contribute to meaningful discussions on identity and values in the modern world.
The daughter of Muqimova Nazaro Nurillo, I was born on June 26, 2005 in the Bukhara region of the Republic of Uzbekistan. I am currently a 2nd year student of Navoi State University PT: Faculty of Exact Sciences of Information Systems Technology.
Throughout my student life, I was the leader of faculty volunteers. I also write articles, poems and stories on a variety of topics. I am actively engaged in creativity, technology, ecology and social sphere.
In general, I am interested in every field and I work as hard as I can on myself, putting all my efforts into different fields.
