The Role and Responsibility of Youth in Society

The development of every nation and society is directly connected with its youth. Today, young people play an important role not only in shaping the future but also in building the present. One of the main duties of youth in society is to develop a sense of responsibility.

Responsibility is not just about saying, “I’ll do it,” or “It’s my turn.” It means understanding that one’s actions affect society, family, and the people around them. For example, gaining knowledge is not only a personal need but also a duty to society, because an educated person is the one who makes crucial decisions that shape the future.

Nowadays, there are plenty of opportunities to study, learn new languages, acquire professions, and create useful projects. However, these opportunities are open only to those who work hard on themselves. That is why young people should not waste their time; even small steps taken every day toward self-development lead to great results over time.

Currently, there are about 1.2 billion people aged between 15 and 24 in the world — roughly 16% of the global population. Recent events around the world show that the role of youth is not limited to education or employment. Issues such as climate change, digital security, migration, and the consequences of the pandemic are forcing all nations to think in new ways. In these matters, the most active group is the youth — because they are the generation that will witness the results of today’s decisions with their own eyes.

Every young person should ask themselves these questions each day:• What have I learned today? Whom have I helped today?• What kind of mark am I leaving for the future? Each person should be able to reflect on their actions, because true growth begins with understanding and taking responsibility for one’s own choices.

Bekturdiyeva Nargizabonu was born on December 7, 2007, in Khiva city, Khorezm region. She graduated from Secondary School No. 12 with a gold medal. She is currently a first-year student at Urgench State University named after Abu Rayhan Beruni.

About the hadiths of Imam Bukhari. Imam Bukhari. He is considered one of the most famous people of the Islamic world and is called the “Imam of Muhaddis”.

We can come across many hadiths during our life, but the hadiths of Imam Bukhari are very beneficial for Islam and cause a radical change in the way of life.

There are 7379 hadiths in the book of Imam Bukhari “Al-jame’ as-sahih”. These hadiths are about the good and bad sides of people, about honoring parents, about giving zakat to relatives, about pride and love. It is a hadith. After hearing the name of this hadith, I had a question. How can a person insult his parents, and I learned the answer to this question after reading this hadith. The hadith begins like this: A person does not insult his parents!

Abdullah bin Amri narrates: “The Messenger of God, may God’s prayers and peace be upon him”, said: “One of the greatest sins that a person commits is to insult his parents!” Then he said: “O Messenger of God, how can a person insult his parents?” they answered. I read this hadith and wrote down the sentences that I remembered for people. No one should insult the parents of another person, because the person who insults him is considered to have insulted his own parents.

Abdukakhorova Gulhayo was born in 2006 in Namangan region. Currently, he is a 2nd-year student of the Uzbek language Department of Philology at the University of Business and Science. Ambassador of the International Organization for the Protection of Children’s Rights in India to Uzbekistan. He is the author of many scientific and journalistic articles.

The Great Egyptian Museum is Egypt’s Gift to the World 

Dr. Reda Abdul Rahim 

There is no doubt that the connection of the Grand Egyptian Museum site with the Giza Pyramids gives it a special importance that is not available to other museums, as it is a museum of all ancient Egyptian antiquities within sight of the majestic Giza Pyramids in a visual association that calls for reflections on the symbolism of the place, the connection between the past and the present, and between modern technologies, and the techniques of building pyramids from stones. And I will take you, dear reader, on a brief trip to this great edifice, on a visit that urges you to visit it as soon as possible, to stand on the greatness of grandparents and grandchildren together.

The Grand Egyptian Museum takes triangular geometric shapes that overlap in the facade different dimensions and shades of color, with a rhythm of dark triangles in color with the use of transparent alabaster(alabaster) sometimes in variations extending to the landscape layout surrounding the museum, with a visual extension on the one hand to the top of the Great Pyramid and on the other to the top of another faraway landmark.

The visual relationship of the museum, from a perspective that emphasizes the close connection between modern Egypt and what was lost in the Tallied. In front of the museum stands an obelisk symbolizing Majesty and power, belonging to King Ramses II from the city of San al-Hajar, east of the Delta, it was moved by lifting it on a base of four columns, engraved with the name of Egypt in all languages of the world, the base was designed to show at the bottom of the obelisk the cartouches of King Ramses II, becoming the first hanging obelisk in the world.

From the spacious obelisk Square, visitors enter the museum through a pyramidal gate to the main square, where the huge statue of Ramses II stands, which was initially transferred from MIT hostage in 1957 to the railway square” iron gate”, which has since been named Ramses Square. the huge statue rises in the museum’s spacious, high-rise interior courtyard with its pyramidal geometric shapes in which natural light manipulates with geometric designs through transparent alabaster stones and others in sloping ceilings that intersect with geometric formations triangular architectural blocks, suggesting pyramidal voids through which visitors move to a great staircase lined with statues of great Kings, while your steps lead you on 24-meter-high steps, through a distance of 64 meters, from the era of ancient Aquarius to the Greco-Roman era, through 72 statues, including the statue of Queen Hatshepsut, Amenhotep III, Akhenaten.

King Senusret I, in his Osirian form, and the god Ptah, whom the ancient Egyptians believed to have created the world with a word, also overlooks us through the eternal past, while Amenhotep III appears to us with “RA Hor my sister” to remind us of the cosmic philosophy of which the Royal Institution was an integral part, and RA The Sun God of Heliopolis was united with Horus the God of the south when the two countries United. The visitor passes on the stairs ascending from the thresholds of history to the era when the Mediterranean world opened up to the ancient Egyptian civilization, which in the Roman era combined Osiris and APIs into a Greek god called” Serapis” to spread his worship in the third century BC. From the great staircase through the glass facade overlooking the pyramids, the visitor enters the twelve exhibition halls, which begin with prehistory and end with the Roman era.

The shows celebrate three main themes: the property system, society and beliefs in galleries with an area of up to 18 thousand square meters. It is used to display collections and artifacts of more than 54 thousand pieces from different eras, and from all over Egypt and its spots, which are full of time-preserved Antiquities, rare collectibles in a chronological sequence that allows the visitor to choose his path through the ages, exploring societal transformations in each era. In addition, the museum includes a display of two of Khufu’s boats, and galleries dedicated to the contents of Tutankhamun’s Tomb, displayed together for the first time since its discovery in 1922.

Radiant day

Smiling to the sun, morning has arrived.

A few little birds walk on the railing of my balcony.

My suitcase is ready, the door drives me,

I go out, my destination is the weekend, free as a falcon.

Smiling to the sun, I sit in the train.

Road is twisting spine all in front the eyes 

Lovely glamorous day, in the sky flock of cranes,

in my palms crumbs of bread, 

in my suitcase – a handful of rays. 

LESSON

Wherever I look

I’m take lesson from

Even from the tree

Even from the bird

I hear a sound

Firstly slower than

Then it gets faster

Thundering

It’s raining

People running away

Rain stopping

Rainbow coming out

And people

Being happy

From this life.

Türkan Ergör, Sociologist, Philosopher, Writer, Poet, Art Photography Model. Türkan Ergör was born in 19 March 1975 in city Çanakkale, Turkey. She was selected International “Best Poet 2020”. She was selected International “Best Poet, Author/Writer 2021”. She was selected International “Best Poet, Writer/Author 2022”. She was awarded the FIRST PRIZE FOR THE OUTSTANDING AUTHOR IN 2022. She was awarded the 2023 “Zheng Nian Cup” “National Literary First Prize” by Beijing Awareness Literature Museum. She was awarded the “Certificate of Honor and Appreciation” and “Crimean Badge” by İSMAİL GASPRİNSKİY SCIENCE AND ART ACADEMY. She was awarded the “14k Gold Pen Award” by ESCRITORES SIN FRONTERAS ORGANIZACIÓN INTERNACIONAL.

Emily as Men of Science Waste Their Lives

No matter the reward

of knowing,

the incredible things

can only nurse us

when they’re in

our mouths.

I cannot chorus

with any other man.

I’m busy, with Emily.

Emily as a Suit of Gold

Whenever

I’m given

an opportunity

to wear Emily

I am to be

witnessed

& remembered

for the excess

of her love.

Emily as an Owl in the Morning

The light is staggering,

but she can still see me

even when I hide from her.

Bizarro horror laced with black humor, [Alex S. Johnson’s] Wicked Candy is shocking, perverse, and, at times, funny as hell”–Lucy Taylor, Bram Stoker Award-winning author of The Safety of Unknown Cities, “Queen of Erotic Horror”

I write from the slit. From the altar. From the lipstick-smeared mouth of the wound. My horror is femme, feral, and sovereign. It’s Queer in the way glitter is Queer: loud, unapologetic, and impossible to ignore. I write transfemme because I am. I write horror because it lets me scream in stilettos and bleed with intention. I write Queer because I refuse to be anything less than electric.

My protagonists are women. Slutty, sacred, contradictory, and divine. They are not victims. They are perpetrators, lovers, monsters, saints. They fuck like gods and cry like poets, often simultaneously. They are soft and they are brutal. They are tender and they are merciless. One thing they never do is ask permission to be who they are. 

I write from the place Judith Butler named: where gender is not essence but performance, not fixed but fluid, not passive but political. My horror is a stage where femininity is weaponized, eroticized, and ritualized. My women perform gender with lipstick and knives.

I write from the borderlands Gloria Anzaldúa mapped: the space between, the space beyond, the space that refuses to be named. My horror is mestiza consciousness in stilettos. It’s hybrid, haunted, and holy. It’s the scream of the in-between. My stories live in the rupture/rapture between binaries—between victim and perpetrator, between sacred and profane, between Queer and monstrous.

I’ve stood beside the torture porn boys, have even been published alongside them. I’ve read their work. I’ve seen their mobs. I’ve felt their eyes. I don’t flinch. I don’t blink. I don’t apologize.

Matt Shaw writes from the meat hook. From the gallows. From the dungeon. His books—Rotten, Sick B, The Cabin—are full of women torn apart, raped, mutilated, discarded. Pain isn’t merely a function of the violence. It’s the point. Women are the spectacle. There is no joy, no reclamation, no complexity. His protagonists are not people—they’re props. His eroticism is domination. His violence is spectacle. His tone is grim, brutal, and hollow. His purpose is provocation, not transformation.

Mine is the opposite. My protagonists are sovereign. They are slutty without shame. They love rough sex and tenderness. They revel in being women—not as objects of pity or punishment, but as architects of their own mythos. My eroticism is sacred. My violence is ritual. My tone is satirical, poetic, glamorously grotesque. My purpose is reclamation, rupture, celebration.

Matt Shaw attacked me. He joined mobs. He tried to erase me. He’s done it to others too—Hailey Hughes, a trauma therapist and BookTuber, critiqued his portrayal of women and he retaliated with a mocking book dedication, social media rants, and a swarm of followers. That’s his pattern: defensiveness, aggression, refusal to engage with critique, especially from Queer and femme voices.

But I don’t write to be palatable. I write to be unforgettable.

My horror is lipstick and knives. It’s sacred and slutty. It’s Queer and loud. It’s the kind of story that doesn’t ask if you’re ready. It kicks the door in and dances on the table.

I write in the lineage of Lucy Taylor—whose work is lush, erotic, and unafraid. Her women are complex, her sex is sacred and savage, her horror is sensual and sharp. Like her, I write bodies that bleed and bloom. I write desire that bites. I write monstrosity that seduces.

Writing transfemme means writing with every part of me that was told to stay silent. Writing horror means turning that silence into a scream that echoes through the bones. Writing Queer means kissing the monster and becoming it. I do not ask for the reader’s comfort. I offer them transformation.

Matt Shaw can keep his meat grinder. I’ll keep my lipstick, my stilettos, and my monsters. And I’ll keep writing stories that make the genre gasp, gag, and grow.

— Kandy Fontaine