Effective Approaches to Teaching Classical Epics in General Secondary Schools

Shermamatova Kamola Azizbek qizi

Namangan State Pedagogical Institute

Master’s student (2nd stage), Uzbek Language and Literature

Tel: +998932367802

Abstract

This article provides a scientific and methodological analysis of ways to improve the process of teaching classical epics in general secondary schools. The educational, moral, and aesthetic significance of classical epics is examined, and effective pedagogical approaches—particularly competency-based and interactive methods—are highlighted. The research findings demonstrate that teaching epics in accordance with modern educational requirements contributes to the development of students’ literary thinking and independent reasoning skills.

Keywords: classical epic, literature education, effective approach, interactive methods, competency.

Main Text

In the process of teaching literature in general secondary schools, classical epics occupy a special place as artistic sources of great spiritual, educational, and aesthetic value. Epics embody the centuries-old historical experience of the people, national worldview, moral norms, and aesthetic ideals. Therefore, studying them contributes not only to the development of students’ literary knowledge but also to the formation of their moral maturity.

However, school practice shows that teaching classical epics is often accompanied by various difficulties. In particular, the complexity of archaic language elements, the abundance of figurative devices, and the extensive plot structure make it challenging for students to fully comprehend the text. As a result, in some cases, epics are studied only at the level of retelling the plot or memorization, while their ideological and artistic essence is not sufficiently revealed.

Modern educational concepts emphasize placing the learner at the center of the educational process and shaping them as an active participant. In this context, competency-based approaches, interactive methods, and integrative educational technologies play a crucial role. Especially in teaching classical epics, these approaches foster students’ independent thinking, analytical skills, and aesthetic appreciation.

The purpose of this article is to scientifically analyze effective approaches to teaching classical epics in general secondary schools, identify their advantages in the educational process, and develop practical recommendations. The research findings hold significant theoretical and practical value for literature teachers and methodologists.

A comprehensive methodological approach was employed in the study. Initially, scientific and pedagogical sources related to the topic, research on literature teaching methodology, state educational standards, and curricula were analyzed. This theoretical analysis made it possible to identify existing approaches to teaching classical epics and assess their effectiveness.

Within the framework of the empirical study, literature lessons conducted in general secondary schools were observed, and the practices of experienced teachers were examined. The use of interactive methods such as clustering, discussion, conceptual mapping, role-playing, and creative writing tasks during lessons was analyzed. The impact of these methods on students’ comprehension and analysis of texts was studied comparatively.

The competency-based approach was selected as the methodological foundation of the research. This approach aims to develop students’ ability to apply knowledge in real-life situations and serves as an effective tool for mastering the moral ideas embedded in classical epics. Observation, comparison, generalization, and analytical conclusion methods were used throughout the research process.

The research results indicate that the application of effective approaches in teaching classical epics significantly increases students’ activity during lessons. In classes organized on the basis of interactive methods, students demonstrated deeper comprehension of the text and actively engaged in character analysis. In particular, tasks aimed at identifying the characteristics of epic heroes—such as “Character Description” and “Evaluation of a Hero’s Decision”—contributed to the development of analytical thinking skills.

Through group work, students acquired skills in listening to others’ opinions, providing evidence, and drawing conclusions. Lessons conducted using a competency-based approach showed that students were able to evaluate the actions of epic characters, draw moral conclusions, and relate them to contemporary life. For example, concepts such as justice, loyalty, and patience depicted in epics were analyzed in comparison with modern life situations.

Comparative analysis revealed that in lessons dominated by traditional explanatory methods, student engagement was relatively low, whereas lessons incorporating interactive approaches demonstrated higher effectiveness in question-and-answer sessions, discussions, and creative writing tasks. This had a positive impact on knowledge retention and long-term memory.

The findings confirm the necessity of updating teaching approaches for classical epics in general secondary schools. Modern pedagogical technologies and competency-based approaches make it possible to present the complex artistic structure of epics in an accessible and engaging way. Interactive methods enhance students’ independent thinking and their ability to justify personal viewpoints. Thus, teaching epics becomes not only a means of imparting knowledge but also an effective tool for holistic personal development.

At the same time, these approaches require teachers to possess high methodological competence, apply creative lesson planning, and use modern technologies wisely. The study shows that implementing effective approaches in teaching classical epics fosters respect for and interest in national literary heritage among students. This expands the educational potential of literature as a subject and contributes to improving the quality of education.

Conclusion

In conclusion, the process of teaching classical epics in general secondary schools needs to be reconsidered in accordance with modern educational requirements. The research findings demonstrate that education based on interactive and competency-based approaches ensures students’ deep and conscious mastery of classical epic content.

Effective teaching of classical epics develops students’ literary thinking, moral worldview, and independent thinking competencies. Therefore, the widespread implementation of modern pedagogical methods in teaching epics and the enhancement of teachers’ methodological skills remain essential tasks. The conclusions of this article contribute to improving literature education in general secondary schools and to effectively transmitting classical literary heritage to the younger generation, while also serving as a theoretical foundation for future research.

The Last
Your heart tiptoed down the hall
out the door
across the street
as far as the other side of town
until the rubber band snapped
and took the rest of you
leaving a chasm in mine.

I filled it with words
first as entreaties
cried out ever so calmly
then etched onto endless pages
until the torrent ebbed
and shifted form.

One day
I realized I had written a poem
that wasn’t about us.

So this is my final for you.
One word
broken in two.

Good
bye.

Periodic Table of Emotions 

There’s a science to this chemistry of avoiding combining catalytic connections between the heart and the head. Like all good experiments, something has to blow up, spill over, or make me choke to figure out what doesn’t work. Unfortunately, while actual scientists record the results to know what to  avoid, as an artist, I tend to use a less clinical approach; the process has always been what interests  me most. Even with the dances I choreograph, once they are done, it’s being in rehearsal I remember,  not the finished work.  

So in the lab of my life, I need to go back and redo again, and again, not remembering that it isn’t the  amount of each element, but the fact that they don’t work together at all. Reminding me once again  that this combination still produces a destabilizing outcome. 

Longing and anticipation, anxiety and memory, anger and regret, self-medication and sorrow, these  opposing components do not play nicely together in any setting, controlled or otherwise. 

With compounding and identifying which interactions work well together, the balancing act is more  nuanced, but I have found that these groupings are always from the same side of the spectrum. Calm  and compassion, forgiveness and gratitude, awareness and curiosity, these always interplay quite  nicely. Mixed with the right physical response, they can produce an alchemical conversion into a state  of being that is calm, settled, almost at peace. With more subtle adjustments: a little more breathing,  a little less fear, the sweet spot of spiritual sanity is attained. Not in the past or future but finally,  gloriously, successfully in the present. 

Exhale. 

Now, where did I leave that glass of wine? 

– Janaea Rose Lyn

5 

4 

I love this rhythm. Generally subdivided as 123, 12, or 12, 123, it’s my favorite to choreograph and  drum. Dum dum dum, Tek tek. Dum dum, Tek tek tek. Or to jumpstart the clutch of my heart when it’s faltering. Boom boom boom, Bap bap. Boom boom, Bap bap bap.  

Five is the number of wounded themes I have identified, where the best and worst of my impulses  reside. It is the count of the primary pillars that inform my life. And let’s not forget the senses. Each  has a primary pattern that is daily re-interpreted with subdivisions, changing accents, and  syncopation, as I phrase the structured improvisation that is my life: 

Belonging attention care, Trust guidance 

Love service, Art beauty abundance 

Sight sound smell, Taste touch 

The first are my recent areas of intense scrutiny. What I didn’t get, what I long for, what I gave to a fault,  what informed my behaviors, and where I attached the conviction that no longer serves me. Protective  armor has its place, for a time. Defenseless, I have no choice but to give these to myself. The  necessary cliché of healing my inner child so the adult me is integrated, interacting with intention and no longer in reaction. The work at hand. 

Following are what nourish me, and each other. Soul food. 

The last are trickier. Blinders finally off, the view is expansive, but the glare of seeing what is actually in  front of me often requires a hat, something I never wore before. The volume of the voices in my head is louder, too. I lost my olfactory sense for a time, which has always been dominant for me, so it was  disorienting to say the least. The day of the shock, it came back full force. It turns out I also needed  some pharmaceutical assistance, so it’s now safely restored to the pantheon of pleasures. The final  two can leave me aching, so I try not to focus on them as much since you’ve gone. I can enjoy eating  and drinking again, but that’s not the flavor I miss. When we do see each other, I look forward to our  parting hug, brief kiss of care, and the sensation of your scent landing lightly on my skin.  

– Janaea Rose Lyn

Room to Move 

Gravity, physics, and physical abilities notwithstanding, the primary partner in my dancing life was  space. Moving in and through it, changing levels and planes, staying in place or inverting perspective,  all of this expanded my expressiveness. Space is tangible. It has weight and viscosity. It’s more  obvious when it duets with water or temperature and can be felt as humidity or an icy chill, but it  shimmers all the time. Pay attention, and you’ll see.  

Now I am navigating a whole other relationship to spaciousness, interiority. My head and heart  growing to make room for a different kind of locomotion. I have always worked on my inner self, but as  with training my outer self, neither produced outcomes as quickly as hoped. With time, the results  were evident in both areas. I have many decades of practice under my belt. 

Unencumbered by the grueling demands of the life I once lived, I find I am working harder than I ever  have. My daily spiritual practice takes as long as a New York City technique class once did. Once  completed, I am not sweating on the outside but equally as exhilarated within. Filled with insights,  understanding, and shifting perceptions, I may look the same to others, but invisibly, I am more  gracious and accepting. I am less encumbered by my psychology, and am learning how to get, and  stay, out of my old ways. I no longer get as easily ensnared in the drama of others.  

I have blood memory and bone density, even if my flesh is a little more wrinkled. I often get  compliments on my long, salt and pepper mermaid hair. You have to earn that, and I can live  underwater now. I can breathe in both worlds. The vastness of emptiness is not terrifying anymore  because I have found that when I fall, I can also grow wings. I have met divine mentors and  apprenticed myself. I was always a serious student, though to my chagrin, not always a quick learner. 

Like the air that surrounded me onstage, unseen by the audience but charged nonetheless, I am a  lone but no longer alone.  

I’m in good company. 

– Janaea Rose Lyn

See Through 

Where stone and pillar held firm and formidable, diagonal canyons of air and light form transient  shadow and shape. 

Strange how echoes become visible when belonging to either side. 

Confessions and fervent prayers drift past in full view, no longer needing to seep through cracks to escape.  

Bored eyerolls and questionable gestures intended for childhood crushes across a pew look lost, eternally seeking a response no longer forthcoming. 

The curious daughter of the tree out back  

climbed as the perfect perch 

to hold hands, steal a kiss, 

has entered as a congregant of trunk and branch. 

Deeply exquisite is this state of exposure. 

Nothing ruined, only revealed. 

Centuries of lives that cobbled these stones with their stories, only to find their place with one. At their head. 

Sun replacing stained glass becomes the window witness. 

 – Janaea Rose Lyn 

Photo: All Hallows House, Alison Butler (2023) 

5 micropoems  

1

air without money

2

weight of conscience

3

chocolate santa

ruined christmas

4

xxx

5

language virus

Understanding Cho’lpon

They say that if a scientist creates some world-shaking discovery, then in order to make the people understand it, he must bring this discovery down from the heights of thought to the ground of everyday life, translating it from the language of abstract and complex formulas into the language of familiar notions and simple concepts.In art, however, the opposite is true.The poet also makes world-shaking discoveries — he creates a beautiful world filled with unique colors, enchanting radiance, magical meanings, and treasured wisdom. However,to comprehend and convey this world, it cannot be simplified or translated into ordinary, mundane speech. When we try to change it, the beauty vanishes; the charm of the work is lost, and those poetic lines that just now sent tremors through your soul turn into powerless chains of words… In order to comprehend the discovery created by the poet, a person must, without fail, rise to the very height of that discovery. Only when the person’s heart beats in unison with the poet’s heart, only when the person’s heart, too, thirsts for the refinement within the poet’s heart, only when it throws open its doors to beauty as the author’s heart does — only then can one perceive the supreme beauty that has been revealed. And this, indeed, is an exceedingly difficult task.

Of course, not everyone attains the fortune of rising to the heights to which the poet has ascended. After all, although the notion of “the people” is frequently invoked, it never signifies a force that is equal and whole in every respect. There are always the people, the crowd, the common folk, and the wise…Usually, it is only those whose hearts are awake, who thirst for truth and beauty — the wise — who are able to perceive the world of refinement created by the poet, and they in turn make the heedless aware of its beauties. In this way, the beauty created by poets becomes the property of the people and serves the elevation of their spiritual world. Unfortunately, as has been said above, this process is by no means an easy one — how many poets have there been who passed their lives lamenting that they were not understood, complaining of being unappreciated, suffering from the lovelessness of their contemporaries?! Even a poet like Pushkin, in a number of his poems, called those unable to approach the street of beauty the “common rabble”(“crowd’”), and expressed his disdain toward them. The “Marxist” literary scholars who once called Pushkin the “great poet of the people,” however, were deeply vexed by such “skepticism” and “arrogance toward the people,” for they could not fit it into the mold of “class character.” This was not difficult to explain — it would have sufficed simply to acknowledge the truth that “not everyone is granted the fortune to ascend to the divine abodes of beauty.”

Abdulhamid Sulaymon og‘li Cho‘lpon (Choʻlpon; 1897–1938) was a leading Uzbek poet and translator of the early 20th century) was among those great poets who were capable of creating — and indeed created — a unique and unparalleled world of poetry. He began his literary activity in 1914, but his flight soared in the 1920s. Especially between 1920 and 1927, Cho‘lpon’s inspiration gushed forth like a vibrant spring, surged like a storm overflowing its banks — in addition to three poetry collections, he created numerous poems, stories, articles, and essays, wrote dozens of dramatic works, and enriched our literature with a series of masterful translations. These works provided the basis for his extraordinarily high recognition.Particularly, some literary critics abroad tried to determine the essence of his creativity with fairness and objectivity.

        They assessed Cho‘lpon as passionate and, at the same time, extremely sensitive, delicate-hearted and therefore, perhaps unsurprisingly, a fearless artist. In their view, Cho‘lpon could never imagine himself as being separate from the people, apart from the life and spiritual world of his contemporaries for whom he served as a poetic source of inspiration. All the tones of Cho‘lpon’s lyricism emerge precisely from this circumstance. Now, let us take a look at the fate of this great poet. Cho‘lpon, who deserves to be the pride of any world literature, who in any cultured society would be recognized as a divinely gifted genius, revered as a “master” and “teacher,” — what kind of destiny did he encounter?

          It is clearly known that this poet, who “could not even imagine himself apart from the people, separated from the life and spiritual world of his contemporaries,” was subjected to condemnation for nearly seventy years. During this period, there was no slander that was not cast upon his name; a kind of competition in denouncing and humiliating him reached its peak. In hundreds of articles, books, and lectures, he was branded with labels such as “bourgeois poet,” “Jadid,” “ideologically corrupt,” “singer of the basmachi,” “nationalist,” “counter-revolutionary,” “a fool who did not understand the October Revolution,” “an alien element poisoning the mind of youth,” “enemy of the people,” and countless other curses. Not for one year, not for ten years — but for almost seventy years!

           This rises a question: could it really be that throughout all those years, among a people as numerous as the Uzbeks, not a single enlightened person could be found who truly understood Cho‘lpon, who grasped that he was a genuinely great poet, and who was not afraid to proclaim this truth? Could it really be that our people are so ungrateful as to fail to appreciate the stream of water flowing right before them? Could it be that our people are so blind and deaf before beauty? A profoundly difficult and complex question. For in the Soviet era, we had become accustomed to speaking of the people only in vague, pompous, high-sounding phrases — the people are wise, the people are great, the people are magnanimous, the people are creative, the people are the builders, and so forth…

          Yet to say — or even to suggest — that the people’s thinking might be limited, that their cultural level might be lacking, that they might fail to honor their own true sons, was impossible. Regardless of whether such statements were just or unjust, they would be deemed disrespectful to the people, slander against their name. And yet, Cho‘lpon, Abdulla Qodiriy, Fitrat, Usmon Nosir, Habib Abdulla…(and how many more great figures could we recall, whose lives unfolded amid tragedy!) — their lives, their fates, their tragedies all took place before the eyes of the people! But the people, as though their mouths were filled with ashes, remained utterly silent, stood by as mere spectators — not only silent spectators, but at times, failing to grasp the essence of the matter, knowingly or unknowingly, they would applaud, and with choked voices shout, “Death to the nationalists!” Yes — their eyes bloodshot with rage, their mouths spitting foam, they would scream in frenzy. And alas, in those moments, not a single brave soul rose up to say, “Hey, brothers! What are you doing? These are flowers of the nation! These are the heroes who sacrifice their lives for the nation!” Yes, this is a fact — an undeniable truth. However, despite this bitter truth, one cannot quite bring oneself to say that “throughout seventy years not a single person among our people was capable of understanding Cho‘lpon.” For indeed, though very few, there were such brave souls. Alongside Boymirza Hayit, whose article we cited earlier, figures such as Zaki Validi — a prominent leader of Tatar-Bashkir culture — Vali Kayumkhan, one of the leaders of the Uzbek émigrés, Dr. Ibrahim Yorkin, who went to study in Berlin in the 1920s and remained there, and others, expressed the highest of opinions about Cho‘lpon. They regarded him as one of the most talented artists of the 20th century. However, the reality is that all of them voiced these opinions while living abroad, and due to the towering, impenetrable iron wall that stood between our socialist homeland and the outside world, their words never reached us. So what about within our own country? Was there any sincere assessment, any warm word said about Cho‘lpon here? Yes, even here such views were expressed. There were times when Cho‘lpon’s works were welcomed warmly by critics, and they were met with positive responses.

          The first scholar to express warm thoughts about Cho‘lpon in the press was Zarif Bashariy. He was originally from Tatarstan, who lived in Uzbekistan during the 1920s, wrote many articles in Uzbek, published stories, made translations, actively participated in the debates of that time, and even compiled an anthology of modern Uzbek literature, which he had published in Kazan in 1929. On May 4, 1923, Zarif Bashariy published a review of Cho‘lpon’s first collection Awakening (Uyg‘onish) in the newspaper Turkiston. At the very beginning of the review, he wrote: “Comrade Cho‘lpon is one of the foremost among recent Uzbek poets, and being truly worthy of being called a poet, his poems can and should be examined and critiqued through the lens of true literature and poetry.” He then describes Cho‘lpon as “a poet of genuine heart and feeling”—that is, a sensitive lyricist—and supports this idea with illustrative examples. Through his analysis, the critic highlights the vivid imagery in Cho‘lpon’s poetry, the depth of emotions, and the poet’s high mastery in word usage.

         Another critic, Vadud Mahmud, in his review of the collection Buloqlar (Springs), wrote that “a new coat has been put on contemporary Uzbek literature” and revealed that the one who had clothed it in this coat was Cho‘lpon himself. He reflected on the artistic qualities of the Buloqlar collection. Quoting from the poem The Death of Labor, the critic confirmed that “so much poetry, so much awakening melody” is present in it. At the same time, he expressed the view that “the poet vividly and movingly depicts the grief of the nation, the groaning souls of slaves, and the angels who weep in their hearts, consisting of the mothers and young women of the East. Although Vadud Mahmud allowed himself a touch of rhetorical exaggeration in this passage, it can be said that he penetrated quite deeply into the essence of Cho‘lpon’s poetry.

In 1924, two issues of the newspaper Zarafshon published articles titled Young Uzbek Poets and Cho‘lpon. The author, Abdurahmon Sa’diy, examined Cho‘lpon’s work in considerable detail and described the poet with a very brief characterization: “He burns and he makes others burn.” The article also argued, with supporting evidence, that Cho‘lpon was “truly a romantic poet of the heart (a lyricist).”

Similarly, albeit in a very brief form, Abdulla Qodiriy in his short foreword to Cho‘lpon’s book Secrets of Dawn rejected the reproaches circulating in the press that labeled the poet as “a weeping poet.” Qodiriy argued that while tears frequently appeared in Cho‘lpon’s verses, the poet sought “to bring forth blossoms from those tears.”

Another common feature of these early articles on Cho‘lpon was that their authors strove to present an entirely impartial assessment of his poetry. Thus, alongside acknowledging the poet’s strengths, they also pointed out certain weaknesses and shortcomings. Interestingly, one particular flaw emphasized in both articles would, in later years, be magnified and turned into one of the principal arguments for wholly discrediting Cho‘lpon’s poetry.

Zarif Bashiriy wrote: “No matter how frequently Comrade Cho‘lpon writes or speaks the words ‘nation’ and ‘people,’ he is not a people’s poet. He is rather the poet of the intellectuals who are close to the people. In his style and spirit, true populism is scarcely present.”

A year later, Abdurahmon Sa’diy published another article in which he stated: “Cho‘lpon is not the poet of the masses-the people, but of the educated, the intellectuals. The broad populace cannot easily comprehend him. Yet, at the same time, he is a ‘narodnik’ poet who writes of the people’s sorrows—without dividing them into any particular class. Indeed, the very essence of Cho‘lpon lies in this profound quality.”

It should be noted that at the time these words were written—namely, in 1923 and 1924—the assertion that a poet was “not a people’s poet, but an intellectuals’ poet” was not perceived as a political accusation. Thus, such “faults” passed without serious repercussions. Later, however, the very label of “not a people’s poet, but an intellectuals’ poet” would become a dreadful political charge, one that inevitably drew a writer to the brink of death. We shall return to this matter in due course. For now, let us conclude our reflections on the early reviews of Cho‘lpon. However impartial these critiques may have been, and however much warmth and attention they radiated toward a newly emerging young poet, we cannot regard them as significant achievements in understanding Cho‘lpon. At best, they were but the first steps—the lowest rungs on the towering ladder that leads to Cho‘lpon’s true stature. Perhaps, had there been favorable circumstances and a society genuinely invested in deeper understanding, one could have ascended those steps and discovered some of the profound dimensions of the world Cho‘lpon created. Yet that was not to be. On the contrary, the process was cut short at the very outset. No ardent devotee of poetry, no fiery spirit wholly consumed by the passion for beauty and refinement, arose to scale the heights of Cho‘lpon’s genius and grasp his essence. Why was this so? This pressing question—looming large before us once more—we shall postpone answering, as we now turn to the remarkable events unfolding around Cho‘lpon during those years.

EDUCATION AS THE KEY TO SUCCESS: ITS ROLE, IMPORTANCE, AND SOCIAL IMPACT IN MODERN SOCIETY

Author: Mominova Nozimakhon                               

Email: nozimaxonmominova7@gmail.com

Institution: 2nd-year student of the Faculty of Pedagogy and Psychology, Department of Special Pedagogy (Speech Therapy), Kokand State University

Abstract

This article examines education as the main foundation of personal achievement and social development in the modern world. It analyzes the role of education in shaping intellectual abilities, professional skills, moral values, and innovative thinking. The study highlights the connection between education and economic growth, social stability, and national progress. Special attention is given to current challenges in education and possible solutions for improving its quality and accessibility.

Keywords: education, success, personal development, social progress, knowledge, skills, innovation, values, leadership, lifelong learning.

In the twenty-first century, education has become one of the most powerful instruments for achieving success and improving the quality of life. In the past, physical strength and natural talent were considered the main factors of success. However, in today’s knowledge-based society, intellectual abilities, creativity, and continuous learning play a decisive role. Globalization and technological advancement have transformed the labor market and social structure. New professions appear every year, while traditional jobs are replaced by automation and artificial intelligence. In such conditions, education helps individuals adapt to changes, develop new competencies, and remain competitive. Therefore, education is not only a personal right but also a social responsibility.

Moreover, education contributes to the formation of democratic values, critical thinking, and civic awareness. It prepares young people to become active participants in social, economic, and political life. For these reasons, education is widely recognized as the key to sustainable success.

Education is a lifelong process that involves acquiring knowledge, developing skills, and forming ethical principles. It begins in early childhood and continues throughout adulthood. Formal education in schools and universities is supported by informal learning through experience, communication, and self-study. The main purpose of education is not only to transfer information but also to teach individuals how to think, analyze, and evaluate different perspectives. Critical thinking enables people to distinguish between reliable and unreliable information, which is especially important in the digital age. Furthermore, education promotes emotional intelligence and social skills. Through group activities, discussions, and projects, students learn cooperation, leadership, and conflict resolution. These abilities are essential for building successful personal and professional relationships.

Intellectual development is one of the most important outcomes of education. Through systematic learning, individuals improve their memory, attention, logical reasoning, and problem-solving abilities. These skills help them understand complex concepts and apply knowledge in real-life situations. Reading, writing, research, and experimentation stimulate curiosity and creativity. Educated people are more likely to generate new ideas, invent technologies, and contribute to scientific progress. Innovation, in turn, plays a crucial role in economic and social advancement. In addition, education develops digital literacy, which is essential in the modern world. The ability to use computers, analyze data, and communicate online increases professional efficiency and global connectivity.

One of the most visible impacts of education is its influence on career development. In the modern labor market, employers prefer workers who possess specialized knowledge, technical skills, and adaptability. Higher education often provides access to better job opportunities, leadership positions, and financial stability. Professions such as medicine, engineering, law, economics, and information technology require extensive academic preparation. Without proper education, it is difficult to achieve excellence in these fields. Continuous professional training and lifelong learning further enhance career growth. Moreover, education encourages entrepreneurship. Educated individuals are more capable of starting businesses, managing resources, and implementing innovative strategies. As a result, they contribute to job creation and economic development.

Education plays a vital role in shaping moral character and ethical behavior. Schools and universities promote honesty, responsibility, discipline, and respect for others. These values are essential for maintaining social harmony and trust. Through literature, history, and social sciences, students learn about human rights, justice, and cultural diversity. This knowledge helps them develop tolerance and empathy. Educated individuals are more likely to oppose discrimination, violence, and corruption.

Furthermore, moral education strengthens self-control and self-respect. People who possess strong ethical principles can resist negative influences and make responsible life choices. Education is a driving force of social progress and economic growth. Countries with high levels of education usually demonstrate better living standards, technological development, and political stability. An educated population increases productivity and innovation. Education also reduces poverty and social inequality. By providing equal learning opportunities, societies enable individuals from different backgrounds to improve their social status. Scholarships, online learning platforms, and inclusive policies play an important role in this process.

In addition, education improves public health, environmental awareness, and civic participation. Educated citizens are more likely to follow healthy lifestyles, protect natural resources, and engage in community activities. its importance, modern education faces numerous challenges. These include insufficient funding, outdated curricula, lack of qualified teachers, and unequal access to resources. In some regions, poverty and social problems prevent children from attending school regularly. Rapid technological changes require constant updating of teaching methods and materials. Traditional lecture-based approaches are often ineffective in developing practical skills and creativity. Therefore, innovative teaching strategies are necessary. Another challenge is student motivation. Excessive academic pressure, lack of guidance, and limited career awareness can reduce learning interest. Psychological support and career counseling should be integrated into educational systems.

To enhance educational quality, governments and institutions must invest in infrastructure, teacher training, and digital technologies. Modern classrooms should be equipped with computers, internet access, and interactive tools. Teacher professionalism is a key factor in educational success. Continuous training programs help educators adopt new pedagogical approaches and improve communication with students. Collaboration between schools, universities, and industries can also increase practical relevance. Furthermore, personalized learning and inclusive education should be promoted. Students have different abilities and learning styles, so flexible curricula and supportive environments are essential.

In the contemporary world, education does not end with graduation. Lifelong learning enables individuals to update their knowledge and adapt to changing professional requirements. Online courses, workshops, and self-study resources provide opportunities for continuous development. Lifelong learning enhances self-confidence and career resilience. People who regularly improve their skills are more capable of overcoming economic and technological challenges. It also contributes to personal fulfillment and social engagement. In conclusion, education is truly the key to success in personal, professional, and social life. It develops intellectual abilities, builds moral character, expands career opportunities, and promotes economic growth.

Through education, individuals gain confidence, independence, and innovative thinking. To achieve sustainable development, societies must prioritize quality education and lifelong learning. Governments, institutions, families, and individuals should cooperate to create supportive learning environments. Only through continuous education and self-improvement can people achieve lasting success and contribute to the prosperity of humanity.

References

1. UNESCO. (2022). Education for Sustainable Development. 

https://www.unesco.org/en/education/sustainable-development

2. World Bank. (2021). The Role of Education in Economic Growth. https://www.worldbank.org/en/topic/education

3. OECD. (2020). Education at a Glance. https://www.oecd.org/education/education-at-a-glance/

4. United Nations. (2015). Transforming Our World: The 2030 Agenda for Sustainable Development.  https://sdgs.un.org/2030agenda

5. Harvard University. (2019). The Importance of Education. https://www.harvard.edu/education/

6. Smith, J. (2019). Modern Education and Social Change. Oxford University Press.

An Analysis of Aleksandr Faynberg’s Poem “Motherland”

Abstract:

This article is devoted to the analysis of Aleksandr Faynberg’s poems dedicated to Uzbekistan, particularly the poem “Motherland.” The study reveals the poet’s loyalty and deep love for Uzbek culture and nature. The simplicity of people’s lives and the depiction of national values occupy a central place in the poems. Faynberg’s creative approach based on realism, as well as the role of his translations in creating a cultural bridge between Uzbek and Russian literature, are thoroughly analyzed.

Key words: Aleksandr Faynberg, Uzbekistan, image of the Motherland, nature, poem, analysis, culture, national values.

Aleksandr Arkadyevich Faynberg was born on November 2, 1939, in the city of Tashkent. His parents moved to Tashkent from Novosibirsk two years before his birth. His father, Arkadiy Lvovich Faynberg (1891–1971), originally from Gatchina, graduated from the Institute of Technology and worked as a chief engineer at a спирт factory. His mother, Anastasia Aleksandrovna (born in 1904), was born in Moscow and worked as a machinist at the same factory.

After finishing a seven-year school, Arkadiy entered the Tashkent Topography Technical School. After graduating, he served in the military in Tajikistan. In 1965, he graduated from Tashkent State University, studying by correspondence at the Faculty of Journalism within the Faculty of Philology, and worked for a student newspaper.

Faynberg’s poems about the Motherland were compared with similar works by other Uzbek poets. The poet’s contribution to Uzbek culture and the literary environment, as well as his poetic approach and imagery, were analyzed comparatively. This analysis helps to identify the uniqueness of his creative work and his place in the literary process of Uzbekistan.

In the poem “Motherland,” the image of the land is depicted with great intensity. Faynberg portrays his homeland vividly through images of a sunny land, rectangular fields, mountain ranges, roads, and poplar trees standing like domes. These descriptions reflect the geographical and aesthetic features of Uzbekistan:

From sunny rectangular fields

To mountain ranges stretching afar,

Roads spinning like a whirlwind,

Dome-like poplars standing in rows.

In the opening lines, the diversity of Uzbekistan’s climate and relief is emphasized. The fields symbolize cultivated lands, while the mountain ranges represent the country’s mountainous regions.

The poem contains real-life experience. The author poetically reflects his youth spent measuring land:

I walked the fields step by step,

Carrying a theodolite, measuring the plots.

These lines recall Faynberg’s engagement with engineering and topography.

The poet also depicts the simplicity of Uzbek life, highlighting the openness and hospitality of the people:

I drank chalob in clay-plastered houses,

Courtyards without doors, always open.

At the end of the poem, feelings of national pride and a strong bond with the Motherland are powerfully expressed:

A kind land. Here lies my lineage —

My soil and fate are in Uzbekistan.

The line “Oh, Europe! I do not even know you” reflects the poet’s cultural identification. He rejects the West because his true homeland is Uzbekistan.

The poem “Motherland” is one of the most expressive examples of Faynberg’s creativity, embodying his national identity, devotion to his homeland, and life experience. His poetry is realistic, profound, and imbued with national spirit.

Another poem vividly portrays everyday life:

It brings peace to the soul

When you gaze at nature’s face.

Stone huts, clay-plastered roofs

Run down toward the riverbanks.

The opening lines depict the calm and beauty of the homeland’s nature, evoking a sense of peace and comfort. Details such as stone huts and clay roofs reflect the simplicity and naturalness of rural life.

The image of the teahouse keeper appears as a symbolic figure who satisfies people’s daily needs and provides spiritual comfort. The teahouse is portrayed not merely as a place to drink tea, but as a center of cultural communication.

The same shelves, the same plates,

A generous table on the low dining stand.

These lines present traditional aspects of Uzbek life: cooking by the bride, shelves, dishes, and the tablecloth. They reflect the continuity and antiquity of folk traditions.

In the conclusion, the poet nostalgically recalls the past:

I remember it all —

Snowy mountains. This beautiful life.

From a linguistic perspective, expressive imagery directs the reader’s attention to the peaceful rhythm of village life. The phrase “It brings peace to the soul” conveys the spiritual influence of nature, while “the blue light shining in a teacup” symbolizes the reflection of the sky in tea.

Faynberg’s works offer a realistic, sincere, and profound artistic expression of Uzbekistan’s life and culture. These poems not only glorify national values but also serve as a vivid example of cultural dialogue and interethnic cooperation.

Conclusion

Aleksandr Faynberg’s poem “Motherland” expresses his deep love for Uzbekistan, national values, and the beauty of simple life. Through a realistic style and personal experience, the poet enriches his works both emotionally and thematically.

This study confirms Faynberg’s contribution to Uzbek culture and highlights his role as a cultural bridge between Uzbek and Russian literature. The artistic and linguistic richness of his poems creates a poetic image of Uzbek life.

In the future, further linguistic and cultural research into Faynberg’s other works and translations may deepen understanding of his international influence and strengthen intercultural literary relations.

References:

Keldiyorova, S. J. “Aleksandr Faynberg and Uzbekistan: The Image of the Motherland in the Poet’s Poems.”

Writers’ Union of Uzbekistan. (2021). Aleksandr Faynberg: An Ode to the Draft. Tashkent: Literature.

Dinara, O. (2024). A Look at the Creative Life of Aleksandr Arkadyevich Faynberg. Modern Education and Research, 1(2), 50–52.

Jumaniyazova, L. S. (2023). Linguistic Analysis of Aleksandr Faynberg’s Poems. SCHOLAR, 1(22), 20–23.

Sevara Joraqulova is a motivated and talented student specializing in native language and literature while actively developing her English language skills. She holds a B+ level certificate in her native language and a B2 level certificate in English.

She is deeply involved in extensive research in the field of literature, studying literary works, analyzing texts, and expanding her academic knowledge. Alongside her literary studies, she consistently works on improving her English communication and academic skills.

Currently, Sevara is focused on self-development, academic excellence, and strengthening both her native language and English proficiency to achieve high results and build a successful future career in education and linguistics.