Painting entered my life at a very young age as a way to express my emotions.
What is your inspiration?
My inspiration is the human being, feelings, and even something simple like a song.
2. What is the message you want to give through your art?
Through my works, I want to capture the viewer’s interest and create a feeling, either positive or negative.
Where is your inspiration coming from?
My inspiration comes from my daily life and my emotions.
3. Do you believe that new generation is creating art?
I believe that the new generation has talent and creativity
Do we have good painters or not?
There are many remarkable young artists who create with passion and authenticity.
4. How have you felt when you see your Art awarded in Art media event this February?
It was a moment of emotion and gratitude. I felt that the effort and love I put into my creations were recognized. At the same time, it was a motivation to continue with even greater strength.
5. Do you want to share with our readers a phrase that changed your life:
“Live in the present and do not be afraid of the future.”
6. What is your future project?
In the future, I would like to study at the School of Fine Arts and then continue to be actively involved in the art field.
…..
Biography
Vivian Daouti is 19 years old and comes from Platanos, Ancient Olympia, Greece. She is a high school graduate and currently in her second semester at the Educational Union (SAEK) of Athens. She holds a Proficiency diploma in English and is a self-taught painter.
At the age of 17, she participated in a painting exhibition for the first time, where she received an award and highly positive reviews, while several of her works entered private collections. Despite her young age, she has already taken part in twenty-four group exhibitions in Greece and abroad — Austria, Istanbul, Turkey, Athens, Pyrgos, Naousa, Paros, Syros, Ancient Olympia — earning distinctions and honorary awards.
In March 2025, she received the 1st Audience Award at the Pan-European Dreamteam Competition at the War Museum of Athens. The award was presented by the Mayor of Ancient Olympia, Mr. Aris Panagiotopoulos. On the occasion of this distinction, the Metropolitan of Ilia, Mr. Athanasios, as well as the Directorate of Secondary Education of Ilia, sent her congratulatory letters for her artistic course and for representing her school at the art exhibition in Istanbul.
In August 2025, she participated in a group exhibition in Ancient Olympia that lasted 24 days and attracted high attendance and warm reviews.
In September 2025, she held her first solo exhibition at the Latsio Municipal Hall of the Municipality of Pyrgos, which drew impressive attendance and very positive feedback from the public and art institutions.
In January 2026, she presented her second solo exhibition in Ilioupoli, Attica, with great success.
In February 2026, she was awarded for the second consecutive year with the 1st Audience Award at the Pan-European DREAMTEAM Art Competition at the War Museum of Athens.
Her works have been published in collectible books, international painting volumes, as well as in print and digital media. At the same time, she participates with her work in the commemorative French edition of the historical volume on the life of the Dredes.
She is a collaborator of the creative group “Grypiotis Collection.”
Her goal is to study at the School of Fine Arts and to explore different cultures through travel, exhibitions, and museums around the world.
The Voice That Still Inspires: The Enduring Legacy of Zulfiya
In the tapestry of Uzbek literature, certain voices weave themselves so deeply into the national soul that they become timeless. One such voice is that of Zulfiya Isroilova, a poet whose words continue to serve as a beacon of strength, dignity, and hope for generations. She was not merely a writer; she was the embodiment of the Uzbek woman’s spirit—resilient in the face of tragedy and unwavering in her devotion.
Zulfiya’s life and work were defined by a “quiet bravery.” After the early loss of her beloved husband, the great poet Hamid Olimjon, she did not succumb to despair. Instead, she transformed her grief into a universal language of loyalty. In her famous lines from the poem “O’g’lim, sira bo’lmaydi urush” (My son, there shall be no war) or her moving elegies, she captured the inner world of a woman who carries the weight of the world with grace. Her poetry reminds us that faithfulness—to one’s family, one’s values, and the motherland—is the highest form of courage.
What makes Zulfiya’s legacy truly extraordinary is her refusal to portray women as fragile. In her verses, women are depicted as strong-hearted architects of the future. They are mothers who nurture the nation, daughters who carry the flame of dreams, and intellectual companions who stand equal in the journey of life. As she once beautifully reflected, a woman’s heart is capable of containing the entire universe’s warmth, even during the coldest winters of hardship.
For today’s youth, Zulfiya is more than a historical figure; she is a modern role model. In a rapidly globalizing world, she teaches us that one can achieve international literary acclaim while remaining deeply rooted in cultural identity. The Zulfiya State Prize, established in her honor, is a testament to this ongoing inspiration, encouraging thousands of young girls across Uzbekistan to pursue education, creativity, and leadership. Her life proves that when a woman finds her voice, she doesn’t just change her own destiny—she elevates the entire society.
The voice of Zulfiya still echoes in our hearts today. Her legacy is a celebration of spiritual strength and national pride. As long as her poems are recited, her spirit will live on, whispering to every girl that she possesses an inner power capable of changing the world. Zulfiya did not just write poetry; she wrote the manifesto of the modern Uzbek woman.
Uzbekistan State World Language University English Philology Faculty, first year, 2513-group, Gayratova Dilnavo.
Türkan Ergör, Sociologist, Philosopher, Writer, Poet, Art Photography Model. Türkan Ergör was born 19 March 1975 in the city of Çanakkale, Türkiye. 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.
THE SOUND OF THE DO’MBIRA AND THE POWER OF THE WORD: UZBEK EPIC TRADITION IN THE SCHOOLS OF BUKHARA, KHOREZM AND FERGANA
ODILJONOVA MOHLAROYIM IQBOLJON QIZI
Kokand State University, Faculty of Humanities and Languages
“Uzbek Language and Literature” Department, Group 102, First-Year Student
Abstract:
This article is devoted to the study of the differences and commonalities among the three great centers of epic art, which constitute a fundamental layer of Uzbekistan’s national culture — the schools of Bukhara, Khorezm, and Fergana (Qashqadaryo–Surkhandaryo). It analyzes the historical conditions of each school, their distinctive performance styles, including musical instruments and vocal techniques, as well as the thematic characteristics of the repertoire of their leading representatives (bakhshis). The main objective of the research is to highlight the powerful role of this unique heritage in shaping the “national spirit” of the Uzbek people through a comparative analysis of epic schools from the perspective of modern literary studies.
Keywords: Schools of epic art, Bukhara, Khorezm, Fergana, do’mbira, power of the word, bakhshi, jirov, epic, melody, oral tradition.
During the years of independence in Uzbekistan, large-scale efforts have been undertaken to preserve the masterpieces of intangible cultural heritage created on the basis of our people’s rich artistic creativity, to revive the ancient traditions of oral folklore, and to consistently develop national values. In cooperation with creative associations, the best examples of bakhshi and epic performers’ works are being widely promoted. At the same time, there remains a need to thoroughly study the history of bakhshi and epic art, to conduct fundamental research in this field, and to implement further measures for collecting and publishing monuments of oral folk creativity.
Epic art is a literary genre that figuratively expresses the dreams, struggles, love, and beliefs of the people and has been performed orally by bakhshis. In different regions, epic performance developed in distinctive ways, forming unique styles of performance, repertoire traditions, and bakhshi practices. On this basis, epic schools emerged. These schools not only preserved oral literary examples but also played an important role in developing them and passing them on to younger generations. Schools such as Kokand, Khorezm, Sherobod, and Namangan (Fergana Valley) are among these rich cultural centers. By the 20th century, the demand for bakhshis and epic performers in cities gradually declined. However, in rural areas, this ancient tradition has continued to thrive. In particular, epic recitations became customary during major national projects such as the construction of the Great Fergana Canal and large reservoirs, as well as during festivals. Many epics were not created by a single author; they were shaped among the people based on oral epic traditions. For this reason, epic schools developed in certain regions.
The meaning of the word “bakhshi” is explained in some sources as deriving from Mongolian and Buryat “bakhsha” or “baghsha,” meaning teacher or enlightener, and from the Sanskrit “bhikshu,” meaning dervish or ascetic. In Uzbekistan, it refers to an artist who memorizes and performs songs and epics, transmitting them from generation to generation. The term “bakhshi” is sometimes also used in the sense of a shaman. In general, epic performers are also referred to as yuzboshi, soqi, sannovchi, or jirov. Bakhshis are mainly divided into two categories: performing bakhshis and creative bakhshis. Performing bakhshis render the epics they learned from their masters with minor variations, while creative bakhshis compose new epics based on oral epic traditions. Such bakhshis are also called poet-bakhshis. Among them are Ergash Shoir, Fozil Shoir, Po’lkan Shoir, Abdulla Shoir, and Xidir Shoir. Bakhshis perform epics and songs accompanied by instruments such as the kobyz, do’mbira, and dutar.
The harmony of word and melody in bakhshi art has played a significant role in raising young people to become brave, courageous, and patriotic individuals. According to oral accounts, military leaders would take bakhshis with them on campaigns to inspire soldiers’ bravery, courage, and devotion to the homeland.
In our country, the tradition of epic performance historically developed in three directions.
The first direction was in the Bukhara epic schools, where epics were performed solo with do’mbira accompaniment, using a guttural voice.
The second direction was in Khorezm, where epics were performed sometimes solo and sometimes in pairs, accompanied by instruments such as the tor, dutar, gijjak, bulamon, qoshnay, and doira, using an open vocal style.
The third direction was characteristic of the Fergana Valley, where epics were performed in an open voice accompanied by the dutar.
1. The Bukhara School – A Bright Expression of Eternal Tradition
The Bukhara epic school represents a tradition where the custom is sovereign, and the bakhshi is its faithful representative. For a Bukhara bakhshi, the epic text is like a jewel polished over centuries; it is impossible to add or remove even a single word. They believe that even if the world changes, truth remains unchanged. In this region, heroic epics such as “Alpomish” and “Go’ro’g‘li” resound powerfully. Rather than melody, the emphasis is placed on high spirituality and the intense struggle of brave heroes. Even in romantic epics such as “Tohir and Zuhra,” human dignity stands above mere lamentation.
2. The Khorezm School – The Harmony of Heart and Melody
The Khorezm school transforms words into melody. While Bukhara relies on the firmness of the text, Khorezm immerses it in a river of lyrical emotions. The plaintive sounds of the dutar and tor turn the epic from a mere narrative into a living spiritual experience. The Khorezm bakhshi feels the hero’s pain as his own and conveys it deeply to the listener. Figures such as Ergash Jumanbulbul o‘g‘li and Po’lkan Shoir are widely known in this region. Moreover, bakhshis such as Yakka Ahmad, Quronxon, and Oysuluv performed “Alpomish” with unique refinement. They not only performed the epic but also recorded it in written form, making it part of literary heritage.
3. The Fergana School – The Brightest Example of Improvisation
The Fergana epic school is characterized by lively dialogue and free expression. This style is dynamic and flexible, drawing strength from life itself rather than strict textual rules. In Fergana, the bakhshi is a skilled conversationalist who engages directly with the audience. Rather than only recounting ancient heroes, he incorporates contemporary joys and concerns into his verses, creating new lines spontaneously according to the mood of the listeners.
The village of Ko‘libuqon is considered a cradle of this art. Masters such as Beqjon Bakhshi, Cho’tboy Bakhshi, and Mahmud Buva have passed down the rich traditions of this school from generation to generation.
Conclusion:
Uzbek epic art is a unique heritage formed over centuries, reflecting each region’s socio-cultural life, historical past, and popular beliefs. The Bukhara, Khorezm, and Fergana epic schools examined in this research demonstrate the multifaceted and diverse nature of this art. The Resolution of the President of the Republic of Uzbekistan dated May 14, 2019, “On Measures for the Further Development of Bakhshi Art,” laid the foundation for in-depth study of the scientific-theoretical and practical aspects of bakhshi art, restoration and development of master-apprentice traditions, and preservation of distinctive performance styles. As a result, the “Republican Center of Bakhshi Art” and the “Fund for the Development of Bakhshi Art” were established (although one of the main locations of the Center is the city of Termiz, its activities cover all epic schools).
The Bukhara school is distinguished by Islamic epic plots, religious-didactic spirit, and rich Sufi symbolism. Here, epics served as a means of conveying deep spiritual meaning.
The Khorezm school stands out for its maqom traditions, complex musical instruments such as the tanbur and gijjak, and its high level of professional performance. It harmonized epic and lyrical narratives with instrumental music, enhancing their artistic value.
The Fergana school, mainly accompanied by kobyz and dutar, vividly reflected daily life and heroic ideas through various genres such as tales and lyrical-dramatic epics, with a strong tradition of storytelling.
Each of these three central regions contributed its own style, themes, and performance traditions to epic art, creating a unified yet ideologically and artistically rich panorama of Uzbek epic heritage.
The sound of the do’mbira and the power of the word represent not merely the union of music and text, but the memory of the people, the national spirit, and a means of spiritual education passed from generation to generation. They have played an incomparable role in preserving the spiritual independence, devotion to values, and worldview of the Uzbek people to this day. Preserving this art form and supporting its schools means ensuring the continuity of our national culture.
In conclusion, every epic performed to the sound of the do’mbira is the poetic response of the Uzbek people to existence. The true power of this art lies in its ability to connect the past with the future, offering each new listener the opportunity to find answers to fundamental questions of time, space, and self.
LIST OF USED LITERATURE:
Safarov O., Jamilova B., Safarova N. Children’s Literature and Folklore. – Tashkent: Turon Zamin Ziyo Publishing House, 2015. – 256 pages.
“20th Century Uzbek Folklore Studies.” Anthology. Compiled by O. Turaboyev and others. Tashkent: State Scientific Publishing House of the National Encyclopedia of Uzbekistan, 2017. – 592 pages.
Masharipova Z. Uzbek Oral Folk Creativity. – T., 2008, pp. 24–40.
Essays on Uzbek Folklore. Vol. 1. – T.: “Fan,” 1988, pp. 25–35.
Madayev O., Sobitova T. Oral Poetic Creativity of the People.
Jumaboyev M. Children’s Literature and Folklore. Textbook. – Tashkent: Publishing House of the Writers’ Union of Uzbekistan, 2006. – 216 pages.
Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).
Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).
Ahmedovich, Turdiyev Shavkat. “From the History of Preservation and Recording of Samples of National Uzbek Musical Folklore.” Asia Pacific Journal of Marketing & Management Review 11.12 (2022): 59–61.
Sabirovna, Rasulova Saida. “Analysis of the General State of Music Education in a Secondary School.” Eurasian Journal of Learning and Academic Teaching 1.1 (2021): 112–116.
Odiljonova Mohlaroyim Iqboljon qizi was born on September 7, 2007, in Bag’dod district of Fergana region. She is currently a first-year student at Kokand State University, Faculty of Humanities and Languages, majoring in Uzbek Language and Literature. She has been interested in knowledge since childhood and has read many books.
1st-year student, Faculty of Humanities and Languages, Kokand State University
Zahiriddin Muhammad Babur – The Legacy of a Great Commander and Thinker
Zarifa Odilova Nozimjon qizi
1st-year student, Kokand State University
Scientific Supervisor: D.O. Hasanova, Doctor of Philology (DSc)
Abstract
The article discusses the role of the great poet and statesman Zahiriddin Muhammad Babur in world civilization, his life principles, and his acts of public service. Babur’s humanistic ideas and his contributions to introducing Eastern culture are highlighted.
Keywords: Zahiriddin Muhammad Babur, statesman, great historical figure, India, prominent personality, poet, historian, Baburnama.
Introduction
February 14 holds special significance for the Uzbek people and the entire Turkic world. This day is widely celebrated as the birth anniversary of the great commander, eminent statesman, talented poet, and unique historian Zahiriddin Muhammad Babur. Over the centuries, Babur has left an indelible mark on human history through his courage, intellect, and rich spiritual legacy.
Babur was born on February 14, 1483, in the city of Andijan, into a family belonging to the Timurid dynasty. His father, Umarshaykh Mirza, was the ruler of the Fergana region. At the young age of twelve, Babur ascended the throne and faced the complex currents of political life. Battles for Samarkand, internal conflicts, and political instability strengthened his young heart. Despite these hardships, he acted with courage and determination—qualities that later elevated him to the status of a great historical figure.
During a period of political turmoil in Transoxiana, Babur set a new goal for himself. He captured Kabul, established a secure base, and began his campaign toward India. In 1526, he achieved victory at the Battle of Panipat, founding the powerful Mughal Empire in India. This empire later became a center of political stability and cultural advancement in South Asia for several centuries. Under Babur’s reign, science, art, and architecture flourished.
The most remarkable aspect of Babur’s personality was his mastery of both the sword and the pen. While he demonstrated courage on the battlefield as a commander, he also expressed his delicate sensibilities in the creative realm. His famous work, the Baburnama, is one of the rare treasures of world literature and historical scholarship. In this work, the author provides detailed and sincere accounts of his life, the political events of his era, cities, natural landscapes, and the customs of the people. The clarity of language, vivid descriptions, and authenticity make the work uniquely valuable.
The Baburnama is not only a historical document but also a literary masterpiece. It includes valuable observations on the nature, climate, flora, and fauna of Fergana, Samarkand, Kabul, and India, reflecting Babur’s broad worldview and keen powers of observation.
Babur’s poetry also deserves special attention. His divan contains ghazals and rubais celebrating love, loyalty, longing, patriotism, and human virtues. Poems written during his years away from his homeland express deep feelings of nostalgia and yearning. Babur was also a builder; he established gardens in Kabul and India, paying attention to landscaping and beautification. The gardens he created later became famous as “Babur Gardens,” standing as vivid examples of Eastern architecture and landscape art.
Today, Babur’s legacy serves as a model for younger generations. His life demonstrates that hardships and trials should not deter a person. On the contrary, those who face challenges with courage achieve great heights. The name Babur symbolizes glorious history, strong will, and profound intellect. His birth anniversary reminds us to revisit our history and rich cultural heritage. Studying Babur’s legacy, promoting his works, and instilling them in the consciousness of youth is our sacred duty, as a nation aware of its history has a bright future.
References
Baburnama. Tashkent: “Yulduzcha,” 1989.
Zahiriddin Muhammad Babur. Divan. Tashkent: Literature and Art Publishing House named after Gafur Ghulam, 1965.
V. Zohidov. Babur and His Literary Heritage. Tashkent, 1960.
R. Nabiyev. Babur’s State and Diplomacy. Tashkent, 1994.
History of Uzbek Literature. Vol. 5. Tashkent, 1978.
National Encyclopedia of Uzbekistan. Vol. 2. Tashkent, 2002. Article: “Babur.”
“Humanistic Ideas in the Personality of Zahiriddin Muhammad Babur,” 2022.
By M. and B. Skelt (publishers) – Folger Shakespeare Library Digital Image Collection http://luna.folger.edu/luna/servlet/s/r8t2ob, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=40908149
According to Shakespeare's Macbeth,
Life "is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
First, some announcements: In February, on Saturday the 28th at 2pm, Synchronized Chaos Magazine partners with the Hayward Lit Hop to co-host the Hayward Coffee Hop.
Join with us to hear poems and sample the wares of four different local coffee shops in downtown Hayward, California (Zocalo’s, Snappy’s, Concha Dreams, and the Old City Roastery). Advance tickets required, reserve your spot here.
In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!
So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.
Poet Marin Angel, of Finland and Bulgaria, is forming a new, vast, international poetry society, the Poetic Political Party for Transparency, that will publish books and which seeks editors and writers.
Published poet and contributor Tao Yucheng is still hosting a poetry contest, open to all readers of Synchronized Chaos Magazine.
Synchronized Chaos Poetry Contest: We seek short, powerful, imaginative, and strange poetry. While we welcome all forms of free verse and subject matter, we prefer concise work that makes an impact.
Guidelines: Submit up to five poems per person to taoyucheng921129@proton.me. Each poem should not exceed one page (ideally half a page or less). All styles and themes welcome. Deadline for submissions will be in early March.
Prizes: First Place: $50 Second Place: $10, payable via online transfer. One Honorable Mention. Selected finalists will be published in Synchronized Chaos Magazine.
From Brian: These prose poems and photos are a journey that celebrate memory and colour and the near and far. Please travel along and explore both the written word and the visual narrative. The content will include but not be limited to, forest trails, meadows and skies, grasshoppers and wild clovers, electric light, and various seasons. And at times we will dream, reminisce, and wonder about the world, its form, content, and continual movement.
Now, for February’s second issue! This issue, Sound and Fury, Signifying Everything, as opposed to Macbeth’s feelings of meaninglessness, points to the importance of individual people and relationships, to ordinary settings and personal life stories.
Dmitriy Kogan asserts the value of ordinary words from understandable poets. Mykyta Ryzhykh’s micropoems hit on different nerves: money, guilt, tradition, speech, silence. Christopher Bernard’s first installment of Senor Despair explores the search for hope and meaning in a complex world.
Terry Trowbridge’s speakers inhabit and listen to time, rather than shouting their existences into the world. Mahbub Alam’s speaker slowly awakens from a deep sleep. On the other hand, Aurelia Preskill’s speaker desires to fully inhabit her universe and her own body. Michael Todd Steffen’s pieces concern observation: seeing our world, and the instability of what we see. Janaea Rose Lyn takes us on a poetic journey from grief to cognition to embodiment and, finally, to translucence. Taro Aizu finds gentle peace in everyday blessings and beauty. Jumanazarova Mohlaroyim Islombek qizi explicates the deep and stormy inner world behind Said Ahmad’s ironically titled novel Silence. Timothee Bordenave explores the emotional territory of pleasure, escape, rebirth, and devotion.
J.J. Campbell depicts the debris of soul damage from a long and weary life, but continues living, as he has little choice. Mahbub Alam evokes the solemn weariness of insomnia in an elegant poem. Taylor Dibbert reflects on turning points in a relationship that went south. John Edward Culp’s work quietly dares without becoming showy, as a person eases into the risk of loving and being loved. Kalipada Ghosh celebrates a gentle and inspiring love. Dr. Fernando Martinez Alderete presents the comfort and care of a steady, long-term love. Lan Xin’s love poetry carries a spiritual bent, drawing on metaphors of angels and ancient Chinese temples. Cai Zhenyuan ties love into universal compassion and making moral choices.
Alexa Grospe speaks to the visceral pain of someone struggling to be seen and loved in their ordinary humanness. Jacques Fleury advises readers to become comfortable and at home in their own identities and bodies. Eva Lianou Petropoulou reminds humans not to lose sight of our hearts and creativity in the age of artificial intelligence.
Bill Tope and Doug Hawley contribute a co-written bleak, funny, and tender short story that highlights the humanity not only of disabled people, but all those who age and change with time. Noah Berlatsky comments with humor on physical aging. Dilafro’z Sultanova aspires to health and wellness in her advertising jingle to the Central Asian health drink Beleever. Diyora Abduolimova and Jurayeva Aziza Rakhmatovna discusses the importance of and methods for inclusive education for children with disabilities.
Shoshana Vegh speaks to a mythical love that endures through time. Mesfakus Salahin promises his commitment to his loved one throughout his life journey. Jamal Garougar affirms a quiet, humble love. Mandy Pistikou’s poetry outlines a romantic relationship that grows and deepens with time. Sabo Jurayeva urges people to marry for the right reasons, building strong families on love and commitment rather than infatuation.
Jerrice J. Baptiste’s colorful artwork celebrates the joy of female friendship and sisterhood. Graciela Noemi Villaverde highlights the transformative power of both friendship and love. Sayani Mukherjee explores interpersonal love through the lenses of memory, religion, myth, and culture. Hanaan Abdelkader Ashour honors the love she shared with those who are departed and feels their continued presence.
Halilova Rukshona Abdufattohovna honors the scientific and philosophical legacy of ancient scholar Abu Nasr al-Farabi. Sevara Jo’raqulova highlights the love for Uzbek heritage, nature, and culture in Alexander Faynberg’s poetry.
Duane Vorhees also addresses nature as a theme, speaking to spring’s regrowth in a natural, unsentimental way. Aziza Xazamova shares fun and colorful winter memories. Christina Chin celebrates the clear, pure beauty of winter. Ananya S. Guha’s poetry speaks to natural cycles and resilience, places that keep a hold on people even after they leave. Yongbo Ma constructs an interior landscape built through a variety of objects, places and natural creatures: rocks, tadpoles, frogs, a person’s hometown.
Brian Michael Barbeito’s nature-based prose is quietly luminous, reflective, and tender, reminding us to see the grace in the everyday. Soumen Roy compares the ebbs and flows of relationships to waves at sea. Dr. Jernail S. Anand’s essay highlights the cosmic and natural power balances of the universe.
G’afforova Hadichaxon Abduhamid qizi also writes from a wide perspective, addressing the importance of addressing air pollution on systemic as well as individual levels. Jalolova Charos weighs various sustainable design models for our world’s growing cities. Mamatraimova Khadicha Eshali qizi discusses toponymy, the science of naming places and landforms, in a certain area of Uzbekistan. Dildora Xo’jyozova appreciates Uzbekistan’s rich and multilayered history and culture. Shahnoza Ochildiyeva celebrates the literary legacy of Uzbek writer and social theorist Chol’pon.
Razzokova Feruza’s essay discusses how language and culture influence emotional expression. Mahmudjonova Rushonabonu outlines the global importance of the English language. Qobiljonova Hurixon compares advantages of blended and traditional education for those learning English as a second language. Sultonova Shahlo Baxtiyor qizi discusses ways to overcome cognitive and psychological barriers to language learning. Nazarova Gulbaxor Azimjon qizi discusses the impact of bilingualism on personality.
Sultonmurodova Aqida identifies and offers solutions to problems students face with learning foreign languages. Shodiqulova Dilorom Niymatulla qizi highlights the value of teachers’ classroom preparation and evaluation tasks in helping students learn languages and other subjects. Mahamqulova Ruhshona Rustam qizi discusses the cultural and psychological benefits of joint educational programs, where a student may receive academic credit from institutions in different countries. Mominova Nozimakhon highlights the many ways education benefits society at large.
Xolmurotova Gulzoda outlines roles of digital platforms in language learning. Jumanazarova Nafisa discusses roles for artificial intelligence in learning English. Mamatova Mahbuba Abdulboqi qizi addresses the proper pedagogical conditions for using project-based technology in teaching literature. To’g’ilova Dinora shows how mobile apps can help students learn the Korean language. Abduhamidova Nihola shares methodological foundations for multimedia tools in language lessons. Madinaxon Tu’ychiyeva explores the efficacy of digitally based learning. Olimova Marjona Ubaydullayevna discusses how artificial intelligence can help with language learning.
Saida Turdiboyeva reflects on how artificial intelligence is changing our lives. Azimov Mirsaid Salimovich highlights the growing importance of computer code in global infrastructure. Nematova Zarina Ochilboyevna points to the emerging trend of digitization in the labor market. Toshbekova Nozima offers suggestions to address youth unemployment. Abdiyeva Mahbuba Rahmiddinova advocates for increased attention to women’s entrepreneurship as a pathway to economic development and empowerment. Zarina Yorboboyeva discusses ways to improve strategic management in business enterprises in Central Asia. Shonazarov Shohjaxon outlines advantages and disadvantages of modern consumer credit.
J.K. Durick’s pieces speak to automation and modern life, the slow erasure of the self. Bozorboyeva Nasiba Ergashboy qizi urges wisdom and foresight in the development and rollout of artificial intelligence technology. Mo’minova Rukhshona highlights how science should not be separated from ethics.
Gaurav Ojha encourages revolutionaries and activists to keep up their spirit and idealism. Norman J. Olson’s drawing conveys the current atmosphere of Minneapolis. Patricia Doyne highlights inconsistencies in American public policy regarding firearms and cultural violence. Kujtim Hajdari laments the destruction and sorrow war causes.
Mauro Montacchiesi highlights themes of moral and psychological choices in the here and now in Dr. Jernail Singh’s book Beyond Heaven, Beyond Hell. James Tian excoriates religion enforced through fear and moral blackmail. Mohammad Sedigh Haghighi reminds us that meaning cannot be outsourced, we are all tasked with a long and personal quest to find what matters.
Ruziyeva Nigina Sanat kizi delves into the moral and spiritual aspects of O’tkir Hoshimov’s work. Jakhongir Nomozov interviews Azerbaijani poet, translator, and journalist Aysel Khanlargizi Safarli on beauty, meaning, and spiritual understanding in her work.
Sevinch Botirjonova explicates the power of words in an increasingly connected world. Stephen Jarrell Williams speaks to memory, faith, and history. Nozima Gofurova highlights the thoughtful literary criticism of Ozod Sharafiddinov and how he examined literature as a force to mold and inspire society as well as elegant entertainment. Jumayev Sanjar Ilyos ogli celebrates the many roles of Uzbekistan’s young people in shaping the country’s future.
