They called him Buster before he could walk, a name bestowed mid-flight.
The small body airborne… tumbling across a tent floor, Thud! Landing against a wall. Splat!
The crowd gasps. His father grins. His mother braces for the next throw.
Little Buster learned the language of flight and fall, of prat and pathos, his bruises spelling destiny in slapstick form.
Even before the tiny tyke could talk he knew the music of collapse, how a tumble, timed just right, could make the audiences roar.
A suitcase handle sewn into his shirt so he could be caught — whoosh! — or hurled, or lifted once more toward the lights.
Tossed and tossed again.
No wings held him aloft – only force. Applied gently, they said. He knew how to land without getting hurt, they said.
Whack! — the floor met his shoulder. Clunk! — the chair gave way.
No one blinked as he sailed through the air with the greatest of ease. Whoosh! Crash! Oof!
Poor little beggar. If he wept, he saved it for the wings.
Every gesture a theorem, every stumble a lesson in physics. He mapped the universe in pratfalls, angles, arcs, impossible collisions.
The film sets became his instruments. He built cathedrals of collapse, stood ghostly-serene at their altars of debris.
The house closed around him — Boom! — but he did not move.
The General thundered beneath him, Chuff-chuff! Hiss! Steam! Screech!
He rode its spine through fire and wreckage, choreographing peril with the calm of a monk.
If the world was falling apart, he would stand at its center – unblinking, his hat flat as a crushed box.
He rose through skylights, swung from cranes, rode locomotives like comets through smoke — Bang! Clang! Crash!
When sound arrived it struck him mute.
The clatter of words drowned the music of motion. The studios – deaf to grace – bound him in contracts and broke his heart.
Yet film remembers what men forget. Decades later — click-whirr-flicker — there he was, forever falling, forever rising, forever young, the universe collapsing in perfect rhythm around that impassive, ghostly face.
They said he was reckless. They didn’t see the math — the quiet calculus of momentum and grace, the prayers murmured in angles.
The man was broken. His body a grieving testimony to fractured bones and battered necks. Crack. Pop. Groan.
Fame has no loyalty. The applause faded. The wife who once adored him bled him dry.
He gave her laughter; she returned silence.
Yet his sons, God bless them, saw the angel in their father’s battered frame, the kindness behind the mask, the gentleness no camera could steal.
It is said he lost a forefinger to a clothes wringer. Whirrrr! Snap! Gashed his head with a brick that boomeranged — Thunk! And was once sucked from an upstairs window by a passing cyclone — Whoooosh! — carried floating through the air, and set down, unhurt, in the middle of a street a few blocks away.
That face — oh, that face — the stillest face in motion pictures, an angel carved from exhaustion and grace.
Eyes like cloud light before a storm, mouth a straight horizon line against which the world could crash.
He did not flinch. He never would.
In the twilight reels of his life, Buster walked once more into the light, a man stitched together by falls, patched with laughter, tempered in silence.
The world had turned to color and chatter, but he remained black-and-white and eternal. A ghostly flicker of silver drifting upward through the hum of the projector.
Samuel Beckett once said he had “the perfect face for the condition of being.” And it was true. His face a canvas where absurdity met grace, silence met survival.
Click. Whirr. Flicker.
And there, amid the hiss of the film, the shimmer of dust — a single line escaped him, soft as breath:
“I think I have had the happiest and luckiest of lives.”
THE SIGNIFICANCE OF LEGENDS IN FOLK THOUGHT AND WORLD VIEW
Rahmonkulova Gulsevar Samidovna
1st year student of the Faculty of Uzbek Language and Literature of the Tashkent State University of Uzbek Language and Literature named after Alisher Navoi
Annotation. This article analyzes the role and significance of legends and legends in folk thought and worldview. The scientific basis of the fact that these genres of folk oral art have played an incomparable role in shaping people’s views on nature, society, goodness and evil, life and death is highlighted. Also, the figurative expression of folk thought, philosophical layers in the relationship between nature and man, artistic interpretation of values such as selflessness, faith, love and goodness are analyzed in the examples of the Kashkadarya oasis “Legend of the Creation of Kashkadarya” and “Legend of the Girl Kashka”. This establishes the role of myths and legends in the formation of national historical memory, understanding of spiritual identity, and national worldview.
Keywords: Folk oral art, myth, legend, folk thought, worldview, Kashkadarya, faith, devotion, historical memory, national values.
Folk oral creativity is one of the oldest and most natural forms of human thought. The history, spirituality, life experience, aspirations, religious and moral views, and ways of perceiving the world of every nation are primarily embodied in samples of oral creativity. In particular, myths and legends are genres that hold incomparable importance in the formation of folk thinking and in expressing its worldview. They have served to help humans understand the world, explain natural phenomena, and express attitudes toward concepts such as life and death, good and evil, loyalty and selflessness. In this regard, myths and legends are not only products of artistic thinking but also unique sources that embody the nation’s social, spiritual, and philosophical worldview.
Numerous examples among myths and legends clearly demonstrate how deep and figurative folk thinking is. For instance, ancient myths and legends related to the Kashkadarya oasis are vivid examples of such folk thinking. In the “Legend about the Creation of Kashkadarya,” the emergence of water is depicted as a source of life, embodying the people’s desire to live in harmony with nature and their religious views. According to the legend, in ancient times, the Kashkadarya region consisted of vast deserts and dry plains, where life was full of suffering due to the lack of water. At that time, a kind old saint living among the mountains, seeing the plight of the people, prays to God for mercy, and by God’s grace, a powerful spring bursts forth from the earth’s bosom. This spring flows through the valley, restoring life. The people call this water “kashka,” meaning white, clear water, and name it the Kashka River. Based on this event, the entire region is called Kashkadarya.
This legend reveals important aspects of folk thinking. First, natural phenomena are linked to divine power. That is, in the folk worldview, water is perceived as God’s mercy and a source of life. Second, the legend expresses the people’s sense of goodness and gratitude: people regard the appearance of water as God’s mercy and treat it with respect. Third, the metaphorical (symbolic) form of folk thinking is clearly evident in the legend: the word “kashka” signifies not just the whiteness of the water but its purity and life-giving quality. This demonstrates the artistic and semantic richness of the folk language and the ability to express deep meaning through words.
In folk legends, along with artistic fabrication, moral and educational ideas are strongly expressed. The “Legend about the Origin of the Name Kashkadarya” is one such example. Through the image of a beautiful and selfless girl named Kashka, it highly expresses the people’s spiritual values, humanity, selflessness, patriotism, and ideas of love and kindness. According to the legend, drought engulfs the land, all springs dry up, and people are left in despair. At that time, Kashka girl does not abandon her people and sacrifices her life to provide water for the homeland. She prays to God to save the people, saying, “Take my life, but let water flow here.” As a result, a river bursts forth from the earth’s bosom, but the girl herself merges into that river. For this reason, the people begin to call the river Kashka River and the region Kashkadarya.
This legend embodies several layers of folk thinking. First of all, it shows the people’s affection for nature and their perception of water as a symbol of life. At the same time, the legend sanctifies the image of a woman, her selflessness, and placing the people’s interests above her own life, which are important virtues in the Uzbek people’s spiritual worldview. Through the symbol of Kashka girl, the people have embodied concepts such as “selflessness,” “loyalty,” and “goodness.” Thus, in folk legends, one can see the people’s moral ideals through artistic images.
In both of these examples, we see that folk thinking is formed based on metaphorical expression, religious views, and social values. Myths and legends are historical sources that preserve various layers of the folk worldview from different periods. Through them, we learn how ancient people perceived the world, what beliefs they held, and how they understood life. In this sense, myths and legends are the people’s “oral philosophy.” They appeared before written sources but preserve deep philosophical content within them. For example, in many Uzbek myths, natural elements like water, trees, mountains, sun, and moon are depicted as symbols of vital force, blessing, and purity. This shows that folk thinking was formed in harmony with nature.
Furthermore, myths and legends express universal values such as the struggle between good and evil, the connection between humans and nature, labor, patience, and selflessness. For instance, in legends about “Koksaroy Spring” or “Aral Sea,” there lies a philosophical content warning about disasters resulting from human indifference or greed toward nature. This reveals the moral-didactic nature of folk thinking. Through their oral creativity, the people have taught lessons to generations, shaping feelings of goodness, patience, love, and respect for nature in their minds.
Another important aspect of myths and legends is that they serve as a means of preserving historical memory. Behind every legend stands a specific historical event or person. By expressing them in artistic form, the people have strived not to forget their history. For example, legends like “Bibi Seshanba,” “Girls’ Fortress,” “Chortoq Water” are connected to events in folk memory, religious beliefs, or ancient customs. All of them hold an important place in preserving folk thinking as social memory.
In today’s folklore studies, myths and legends are studied not only as artistic heritage but also as a source for researching “national identity (selfhood).” Because these genres are a unique model of folk thinking, expressing the people’s attitude toward their history, nature, and human values. By analyzing them, the people’s ancient philosophical worldview, social ideals, and aesthetic views are restored. For example, through the legend about the Kashka girl, we understand that the people depicted women not only as beauty but also as a source of life, a symbol of love and selflessness. This, in turn, shows the ancient respect of the Uzbek people for women and their sacred place in society.
In conclusion, myths and legends are one of the oldest sources expressing the historical layers of folk thinking, religious and spiritual worldview. They illuminate the stages of humanity’s artistic perception of the world and embody the people’s inner spiritual world, aspirations, beliefs, and views on life. Myths and legends are also highly valuable for modern humans because they remind us of the Uzbek people’s spiritual roots, living in harmony with nature, and values such as selflessness, goodness, and devotion to faith. Thus, myths and legends are a living bridge of folk thinking continuously extending from the past to the future.
References:
Jo‘rayev M., Saidova R. (2002). Bukhara Legends. A. Qodiriy National Heritage.
Imomov K. (1989). Myth. Essays on Uzbek Folklore. Volume II. Fan.
Uzbek Folk Myths. Uzbek Myths, Wisdoms, Legends. Ten-volume set. Volume 3. A. Qodiriy National Heritage.
Razzoqov H., Mirzayev T., Sobirov O., Imomov K. Myths and Legends.
Uzbek Folk Oral Poetic Creativity. Textbook. – T: O‘qituvchi
Rahmonkulova Gulsevar Samidovna, 1st year student of the Faculty of Uzbek Language and Literature of the Tashkent State University of Uzbek Language and Literature named after Alisher Navoi
Educational Institution: Tashkent State Dental Institute
Annotatsiya: Ushbu maqolada Herbst apparatidan yuklash yuqori nafas yo’llari funktsional holatiga ko’rsatgan ta’siri ilmiy tibbiy tahlil. Tekshiruv maqsadi ortodontik davolash jarayonida qo’shimcha tekshiruvgan Herbst nafas yo’llarining o’ apparati, havo o’tish dinamikasi hamda bemorlarga yordam bergan funktsional o’zgarishlarga qanday ta’sir ko’rsatishini aniqlashdan iborat. Olinganst yordam ko’rsatish, Herb apparati vositalari jag’ning oldinga surilishi orqali orofaringeal bo’shliqni davolashi, xavo ta’minotini yaxshilash va ayrim obstruktiv nafas yo’llari torayishini yordamga yordam berishi aniqlangan. Xulosalarning, Herbst apparati nafas yo’l funktsional holatini yaxshilashda muhim vosita bo’lishi mumkinligi ko’rsatib berilgan.Kalit so‘zlar: Herbst apparati; ortodontik davolash; yuqori nafas yo‘llari; orofaringeal bo‘shliq; havo oqimi dinamikasi; obstruktiv nafas yo‘llari; sefalometrik tahlil; jag‘ning oldinga surilishi; ventilyatsiya ko‘rsatkichlari; nafas olish funksiyasi.
Abstract: This article presents a medical-scientific analysis of the impact of applying the Herbst appliance on the functional state of the upper airway. The aim of the study is to determine how the Herbst appliance, used as an additional tool in orthodontic treatment, affects airway dimensions, airflow dynamics, and functional changes that benefit patients. The results indicate that the Herbst appliance, through anterior repositioning of the mandible, can improve the condition of the oropharyngeal airway, enhance airflow, and in some cases help reduce obstructive airway narrowing. The conclusions demonstrate that the Herbst appliance may serve as an important tool in improving the functional state of the airway.
Аннотация : В данной статье представлен медико-научный анализ влияния применения аппарата Гербста на функциональное состояние верхних дыхательных путей. Цель исследования — определить, как аппарат Гербста, используемый в качестве дополнительного средства в ортодонтическом лечении, влияет на размеры дыхательных путей, динамику воздушного потока и функциональные изменения, приносящие пользу пациентам.Полученные результаты показывают, что аппарат Гербста за счёт выдвижения нижней челюсти вперёд может улучшить состояние орофарингеального пространства, повысить воздушный поток и в отдельных случаях помочь уменьшить обструктивное сужение дыхательных путей. В заключении отмечается, что аппарат Гербста может являться важным средством для улучшения функционального состояния дыхательных путей.Ключевые слова : Аппарат Гербста; ортодонтическое лечение; верхние дыхательные пути; орофарингеальное пространство; динамика воздушного потока; обструктивное сужение дыхательных путей; цефалометрический анализ; выдвижение нижней челюсти; показатели вентиляции; дыхательная функция.
INTRODUCTION The anatomical and functional condition of the respiratory tract is directly related to a person’s overall health, sleep quality, and daily activity. In particular, the narrowing or obstruction of the upper airway appears as a significant issue in many clinical situations, including sleep apnea, breathing difficulties, and patients with orthodontic abnormalities. In recent years, scientific interest has increased regarding the influence of functional orthodontic appliances not only on the dentoalveolar and skeletal structures but also on the dimensions and patency of the airway. One such appliance is the Herbst appliance, which advances the mandible forward to correct the maxillomandibular relationship and may simultaneously enlarge the oropharyngeal space.
Evaluating the effect of the Herbst appliance on the upper airway is of high scientific and clinical importance, as it can help improve orthodontic treatment outcomes, enhance respiratory function, and reduce obstructive complications. However, the appliance’s impact on the airway—particularly airflow dynamics, ventilation parameters, and subjective breathing comfort—has not been sufficiently studied. Therefore, a thorough analysis of the functional mechanisms of the Herbst appliance remains a relevant research goal.
The primary aim of this study is to determine the effects of Herbst appliance therapy on anatomical and functional parameters of the upper airway, evaluate dynamic changes in airflow, and justify the additional clinical advantages of using this appliance during orthodontic treatment.
LITERATURE REVIEW
Studies investigating the effects of the Herbst appliance on the upper airway combine clinical, anatomical, and functional aspects. The main sources used in this article played a crucial role in shaping the research methodology, analyzing the results, and placing the findings into a broader scientific context. Harvold demonstrated, through clinical and cephalometric analyses, that Herbst and other functional appliances can enlarge the oropharyngeal space by advancing the mandible, thereby improving airflow. Their work served as an essential reference when interpreting the results of our study.
Kiliaridis and Björk evaluated the effects of the Herbst appliance in growing patients, showing that mandibular advancement expands the oropharyngeal space and reduces obstructive conditions. Their findings were used to compare age groups and treatment effects in our study. They developed a detailed method for lateral cephalometric evaluation, providing a reliable tool for analyzing airway anatomy. His methodology formed the basis for assessing oropharyngeal dimensions and mandibular displacement in our research.
Ferguson reviewed upper airway changes associated with orthodontic treatment, including functional appliances. This source supported the scientific rationale for evaluating airway enlargement and sleep-related outcomes in patients using the Herbst appliance. Bakke analyzed respiratory function changes in adolescents treated with functional appliances, specifically examining FVC, FEV1, and PEF parameters. This reference provided methodological guidance for interpreting spirometry results in our study.
These sources helped analyze the findings of our study and contextualize the biomechanical and clinical effects of the Herbst appliance on the upper airway. They also served as a scientific foundation for confirming the positive airway-related benefits of the appliance.
RESEARCH METHODOLOGY
The study was conducted using an observational-analytical design aimed at comprehensively evaluating the effects of the Herbst appliance on the upper airway. The methodology included the following stages:
1. Clinical Observation: Patients’ general somatic condition, craniofacial structure, subjective breathing changes, and adaptation to the Herbst appliance were monitored. An individual clinical chart was prepared for each patient.
2. Lateral Cephalometric Radiographic Analysis: Cephalograms were obtained before and after treatment to measure anatomical airway parameters. The following measurements were recorded: Oropharyngeal space width Anteroposterior and vertical airway of mandibular advancement Functional skeletal changes
3. Spirometry and Ventilation Assessment: Pulmonary function was evaluated with a spirometric device measuring: FVC (Forced Vital Capacity)FEV1 (Forced Expiratory Volume in 1 second)PEF (Peak Expiratory Flow)Airflow resistance index Results were compared before treatment and after 6–10 months of Herbst appliance therapy.
4. Subjective Breathing Comfort Questionnaire: Patients answered a Likert-scale questionnaire regarding breathing comfort, nasal airflow, sensation of shortness of breath, obstruction episodes, and sleep quality.
5. Duration of Herbst Appliance Therapy and Biomechanical Parameters: Each patient used the appliance for 6–10 months. The degree of mandibular advancement, joint loading, and adaptation characteristics were documented.
6. Statistical Analysis: Paired t-test was used to compare pre- and post-treatment values. Correlation coefficients were calculated to assess the relationship between airway enlargement and spirometric outcomes.
RESULTS
The findings of the study were based on clinical observation, cephalometric analysis, spirometry, and patient-reported outcomes.
1. Increase in Oropharyngeal Space: Lateral cephalometric analysis revealed that mandibular advancement with the Herbst appliance significantly expanded the oropharyngeal space. The average increase was 2.3 mm, with the most notable changes seen in the lower airway segment.
2. Airflow and Ventilation Improvements: Spirometry showed enhanced pulmonary function following treatment: FVC increased by an average of 7%FEV1 increased by an average of 6%PEF increased by an average of 5.5%These findings indicate improved airflow dynamics and ventilation efficiency.
3. Subjective Breathing Comfort: 72% of patients reported easier breathing 65% reported improved sleep quality 58% experienced reduced sensations of obstruction or choking
4. Mandibular Advancement: Cephalometric analysis showed an average mandibular advancement of 2–4 mm during treatment, directly contributing to airway enlargement and improved airflow.
5. Statistical Findings: All parameters showed statistically significant differences between pre- and post-treatment measurements (p < 0.05). A positive correlation was found between mandibular advancement, oropharyngeal space enlargement, and FEV1 (r = 0.68, p < 0.01).
CONCLUSION
The results demonstrate that during orthodontic treatment, the Herbst appliance is effective not only in correcting dentoskeletal discrepancies but also in improving upper airway function. Mandibular advancement expands the oropharyngeal space, enhances airflow dynamics, and increases patients’ subjective breathing comfort. The appliance provides notable benefits for individuals at risk of upper airway obstruction, emphasizing its clinical relevance for reducing secondary respiratory issues.
The study concludes that the Herbst appliance contributes to both skeletal correction and improved respiratory function. Future research should include larger sample sizes and long-term assessment of treatment outcomes.
REFERENCES
Bakke, M., Espeland, L., & Krogstad, O. (1995). Functional appliances and respiratory function in adolescents. European Journal of Orthodontics, 17(1), 45–53.
Https://doi.org/10.1093/ejo/17.1.45Ferguson, K. A., Carskadon, M. A., & Millman, R. P. (2006). Upper airway changes with orthodontic treatment: A review. Sleep Medicine Reviews, 10(2), 107–123. Https://doi.org/10.1016/j.smrv.2005.08.003Harvold, E. P., Tomer, B. S., & Vargervik, K. (2000). Functional appliances and airway changes in orthodontics. American Journal of Orthodontics and Dentofacial Orthopedics, 118(2), 152–159. Https://doi.org/10.1016/S0889-5406(00)70391-8Kiliaridis, S., & Björk, A. (1986). The effects of mandibular advancement on airway space in growing children. European Journal of Orthodontics, 8(2), 95–104.
Https://doi.org/10.1093/ejo/8.2.95Mcnamara, J. A., Jr. (1981). A method of cephalometric evaluation. American Journal of Orthodontics, 80(4), 505–522. Https://doi.org/10.1016/0002-9416(81)90238-3Pancherz, H. (1997). The mechanism of Class II correction in Herbst appliance treatment. Seminars in Orthodontics, 3(4), 214–224. Https://doi.org/10.1016/S1073-8746(97)80008-5Valiathan, M., & Bock, N. (2010). Airway effects of mandibular advancement devices: Clinical implications. Journal of Clinical Orthodontics, 44(5), 295–302.
Cal Performances presents The 4th Witch, November 22, 2025 at Zellerbach Hall
(credit: Courtesy of Manual Cinema)
Witching Hour
The 4th Witch
Manual Cinema
Zellerbach Hall
University of California, Berkeley
Reviewed by Christopher Bernard
For (frustratingly) one lonely, tantalizing performance, Cal Performances, in co-commission and as part of its “Illuminations: Exile and Sanctuary” series, brought the bright good witches of Chicago’s Manual Cinema on a recent Saturday evening for a brew of witchery and magic that they, and they alone, are (in this apprentice wizard’s experience, anyway) uniquely qualified to provide.
I say frustratingly because I can’t understand how this company’s brilliant toilers, who spent a year creating a compact music-filled masterpiece of puppetry, handicraft, cinema and wonder, can’t have been given a full weekend among us: the hall was packed, riveted to marvels of stagecraft and story-telling, without a pixel or a bow to “slop” in sight, and few left for the fascinated Q&A that followed. When something this fine, brave, and wondrous blazes across the Bay Area’s sky like a comet blithely visiting from a neighboring universe, one can hardly settle for a single, dazzling show – no!
It’s not as if the company were new here and on probation: they brought us a scintillating Ada/Ava in the millennium before Covid (circa 2017, to be precise). The 4th Witch is even finer, and marks one of the peaks in Bay Area performance since then. For those new to Manual Cinema, a brief description may be in order. The creative heart of the company is given to inventing live performances of puppetry, hand-crafted backgrounds, body prostheses, and props and the techniques of shadow plays projected onto large screens and accompanied by live music.
One of the most intriguing aspects of the performance is that, rather than seeing only the end result onscreen, we also see, in the background onstage, the combined actions of actors, puppets, prop managers, projectors, and musicians as they bring the final result about. It’s a bit like a combination of Bunraku puppeteering and an open kitchen at a small five-star restaurant. Far from undermining the magic, it paradoxically makes the end result seem like pure alchemy, as the mind is cast into the liminal space between the quotidian reality and the magical effect. The result is a profoundly poetic form of animation that has the high-wire thrills of live performance.
The premise of Saturday’s show is as beautiful in its simplicity as it is timely without being brow-beating. As described by one of the members in the Q&A, they took a page from Tom Stoppard’s famous play from the 1960s, Rosencrantz and Guildenstern Are Dead, which retells the story of Hamlet through the eyes of his half-clueless, half-traitorous school fellows, and reimagined another famous play by the Bard – in this case, Macbeth , though, in keeping with sacred theatrical tradition, the tragedy is referred to onstage only as “the Scottish play”– from the point of view of one of the Thane of Cawdor’s victims.
The story is updated to an imaginary, mid-twentieth-century war in a French-speaking country, and the victim is a young girl whose parents run a little restaurant in a town piled up a steep, isolated hill, much like Mont-Saint-Michel on the Normandy coast of France. The girl’s parents are killed in a raid by Macbeth’s air force. The town is left in ruins, and she runs away after a futile attempt to bring down the mocking, glow-eyed, gas-masked, Darth Vader-like Macbeth by striking him with her stuffed bunny rabbit, her sole possession saved from the wreckage of her home.
Lost in the surrounding forest, wandering for days, reduced to hunger and rags, she discovers a mysterious house, where she is met by a sinister old woman who takes her in and sets her to work. The old lady turns out, naturally, to be a witch – indeed, she is one of three, magically embodied in the one, who have a mysterious relation to Macbeth and his powers, a relation that shall not be revealed here, for those seeking spoilers. After the girl, taking a sip of a spell-casting soup, has a sorcerer’s apprentice moment in the witch’s kitchen, the old one decides to teach her witches’ ways – a fourth to add to the three.
And the powers in magic that the girl gains – black as the night, from making magic potions from mushrooms of the forest, to night flying on broomsticks, to commanding daggers to fly to the hearts of their victims – feed the dreams she cultivates of revenge against the murderer of her parents. We’ll leave it at that.
Whoever knows “the Scottish play” can guess much, but not everything: not how famous elements of the play – from floating daggers to the bitter washing of hands, from the assassinations of kings to the executions of assassins – are mixed and blended, with imagination and wit, nor how the amalgam of the imaginary, the remembered, and the hoped for is finally annealed into a satisfying whole – a Gesamtkunstwerk (forgive my German) held light and bright, from acting as rich as a puppet’s to puppetry as nuanced as a great actor’s, to potently low-tech sound design and music from a trio of instrumentalists seconding as vocalists, to world-creating as lyrical and witty as it is suggestive of its own self-contained universe.
Play on, Manual Cinema! And blessed be those Who bring ye back for more than one more show!
Christopher Bernard is an award-winning poet, novelist, playwright, and essayist. His most recent book is The Beauty of Matter: A Pagan’s Verses for a Mystic Idler. 2025 is the twentieth anniversary of the publication of his celebrated debut novel, A Spy in the Ruins.
Welcome to November’s second issue of Synchronized Chaos Magazine! This month’s issue, Throughlines, contains a wide variety of submissions in a diverse array of styles on many different topics.
That said, there are a few common narrative motifs that emerge and return throughout this issue: pride in and reclaiming of culture, family, parental, and romantic love, artistic craft and creativity, and resilience and determination to achieve one’s dreams.
Olga Levadnaya reflects on how people build new memories and add to the fabric of history in elegant and old cities. Dr. Reda Abdel-Rahim highlights the wonder of the Great Egyptian Museum to showcase history and archaeology. Maftuna Rustamova regales us with her pride in her national Uzbek flag.
We can celebrate and take joy in cultures other than our own. Tourist Anna Keiko poetizes with grace and warmth on the beauty she finds in French society and culture. Maftuna Davlatova traces the development of tourism as an industry in Uzbekistan. Solijonova Dildorakhon outlines methods to improve the service and efficacy of Uzbekistan’s tourism industry.
Jacques Fleury reviews the Boston Center for the Arts’ production of Kim’s Convenience, a play about a Korean immigrant family’s convenience store that speaks to what it means to become a family and how that meaning changes over time.
Rustamova Shakhnoza’s poignant stories celebrate patience, dedication, and intergenerational family love. James Whitehead embraces his American girlfriend while contemplating American vintage art. Izabela Zubko plays in her poetry with love and memory. Royal Rhodes speaks in a reserved, thoughtful manner about memory and nostalgia: trick-or-treating, aging photos and furniture, notable storms.
Nozanin Bahodirova links the Uzbek language and the Uzbek culture, advocating the preservation of both. Zarina Murodova discusses possible roles for technology in language learning. Sevinch Hoshimova outlines advantages and disadvantages of online education and advocates for a balance between screens and traditional classrooms. Tuchiyeva Dilso’z discusses the emerging role of AI technology in student learning. Rayhona Nurdinjonova discusses potential roles for artificial intelligence in foreign language instruction. Kamolova Mashhura compares the possibilities and drawbacks of digital and in-person learning. Sotivoldiyeva Nargiza Shokirjon traces the effects of increased global migration and communications technologies on the field of linguistics. G’ulomova Rukhshona outlines evidence-based teaching methodologies for primary school students to learn their native languages.
Nurmetova Orzu points out the importance of and methods for teaching young children their native language. Dildora Saidjonova explores various methods to learn foreign languages. Khasanova Azizabonu highlights the presence of similar cognate words in English and Uzbek. Maftuna Hayitboyeva outlines the importance of grammar instruction in many different theories of language learning. G’afforova Hadichaxon highlights insights from philosophy that can inform and enhance language learning classrooms. Isaac Aju pays tribute to a special teacher who inspired his studies. Sobirjonova Rayhona pays tribute to a special teacher who possessed compassion and dedication. Jumanazarova Zuxra outlines fresh strategies for teaching language to young children.
Oynur Azimova speaks to the power of literature to inspire emotional resonance and creativity. Faleeha Hassan suggests ways to get beyond initial disinterest to find meaning in seemingly boring novels.
Horror writer Kandy Fontaine puts forth an artist’s manifesto about the complex female characters she creates and how that sets her apart from other writers. Alan Catlin contributes sketches of the soft and vulnerable underbelly of life: refugees, the homeless, bioluminescence, long-disused lighthouses, birds of prey without enough food. Luis Fernando Quiroz captures a witch at the very moment when her powers are interrupted at the break of dawn, revealing character while capturing a bit about the limits of anyone’s power in the face of a complex and cyclical world.
Shahina Olimova honors the poetic legacy of Uzbek writer Alexander Feinberg, who captured the national character and became internationally known. Odina Bahodirova also pays tribute to the legacy of Uzbek poet Alexander Feinberg: his attention to details of craft, his integration of feeling and form, his capturing of ordinary Uzbek life. Journalist Jakhongir Nomozov interviews Azerbaijani writer and academic Vuqar Akhmed about how childhood, patriotism, classic literature, and the methods of scientific research all inspire his own work and that of many other modern Azeri writers. Choriyeva Oynur celebrates the poetic heritage of Uzbek writer Zulfiya Isroilov and the tenderness and beauty of her work.
Abdukahhorova Gulhayo honors the tender spirit of Otkir Hoshimov’s The Works of the World, a collection of short stories about mothers. Zarina O’rinboyeva highlights the perseverance and accomplishments of a young and hardworking Uzbek girl and her caring mother. Hassan Musa Dakasku celebrates a mother’s love and kindness. Fiza Amir’s short story evokes the joy and wonder of maternal love and early childhood. Hassan Musa Dakasku celebrates a mother’s love and kindness. Abdukakhorova Gulhayo highlights Islamic teachings about respect for parents.
Moustapha Misau’s poetry celebrates romantic love, before and after death. James Tian urges us to love and bless and care for the living while we still have them with us. Tea Russo’s piece highlights the absence of a family member by showing us various unusual things and people included during a time of grief. Taylor Dibbert reflects on how he still misses his beloved dog London. Jelvin Gipson depicts a woman’s internal sorrow over a heartbreak.
Turkan Ergor reflects on how nothing lasts forever, a lesson illustrated in nature. Christina Chin’s haiku dramatize how nature continually changes: someone’s always moving, being born, or dying. Mahbub Alam revels in the beauty of nature, in the elegance of snails in a slough. Dessy Tsvetkova revels in going outdoors on a brilliant sunny day. Aura Echeverri Uribe laments the environmental destruction of a natural mountain landscape. Dildora Xojyozova discusses the growing consciousness of tourists about traveling to scenic areas in ways that respect and protect nature. Yangibiyeva Iroda emphasizes the need for student and public education on environmental protection. Brian Barbeito reflects on the state of peace he finds as a hiker in deserted brown fall marshlands. Sayani Mukherjee recollects the many sights and sounds of a grove of trees near the ocean.
Bill Tope’s feline narrator, Felix, chronicles his life and times with his favorite ‘two-leggers.’ Maria Cecilia Mazza describes the beginning of another cross-species emotional connection, between a human and a robot. Eva Petropoulou Lianou encourages us to preserve the core of what makes us human as artificial intelligence begins to take over human activities: love, friendship, and hope.
Adrina Esparas-Hope explores the multifaceted nature of the metaphorical human heart. Rus Khomutoff brings us to a state of ecstasy that just elides reason. Stykes Wildee incorporates a fresh and wild sound into his rock compositions. Mark Young’s artistry blends the carefully controlled and the wild and vast.
Harry Stammer plays with traditional format, assembling his work from an assortment of scrap punctuation and gathered semiotics. Patrick Sweeney regales us with morsels of short-form that inspire us to imagine a scene or mood. Ari Nystrom-Rice serenades us with a rollicking wave of party sound. Darren Demaree contributes a bit of whimsy to his Dickinson-esque poems for his wife Emily. Jim Meirose presents a hodgepodge of radio signal and static as sports players stop for a bit to listen.
Duane Vorhees poetizes in a longer format on history, mythology, and sensuality with a touch of whimsy. Tanisha Keefe describes various aspects of human relationships and love: steady friendship, recovery after abuse and loss, self-love and self-respect. Kassandra Aguilera steps out of the circus of a failed relationship that never materialized into what she hoped.
Eleanor Hill’s piece provides a dark and visceral take on Cinderella, illustrating stepping into a glass slipper that doesn’t fit. Daniela Chourio-Soto renders subjugation, repression, isolation, and immobilization into intense physical experiences. Nicholas Gunther describes a state of stasis, mental purgatory. J.J. Campbell brings his brand of wry sadness, humor, and resignation for a fresh set of poems. Habiba Malumfashi’s poetry explores how home can both welcome and embrace and trap and imprison. Khadija Ismail spotlights the pain many women endure due to intimate partner violence and urges us not to excuse it because of religion or culture. Bill Tope’s poem dramatizes the pain of sexual abuse survivors in a world denying them agency.
Dr. Jernail S. Anand highlights the value of compassionate and ethical living, causing no harm to self or others, as opposed to simple rule following. Perwaiz Shaharyar puts forth a plea to the world’s leaders to choose peace. Dr. Ashok Kumar calls for peace, unity, and oneness among humanity. Rand Morsy calls the world and humanity to peace. Andres Loriente acknowledges the unity of the world’s people, how we are more alike due to common experiences than we are different because of race. Dianne Reeves Angel’s short story illuminates how she began to understand and oppose the injustices in South Africa while in the country making what was going to be a glamorous film.
Najmiddinova Shahinabonu encourages us to pursue virtues such as perseverance, resilience, and family love, even more than we strive for riches. Luz Myriam Moreno Puerta speaks to overcoming rejection with perseverance. Zamira Moldiyeva Bahodirovna speculates on the psychology behind why we remember negative experiences more so than positive ones and encourages us to strive for mental and emotional balance. Wansoo Kim sends up poems of personal, social, and natural hope and renewal.
Zikrillo Latipov’s short story highlights the value of our hopes and dreams. Bekturdiyeva Nargizabonu emphasizes the importance of youth to society and therefore, the responsibilities of young people to learn and contribute. Aisha MLabo reflects on the inner drive and energy in the heart of a young person. Guzliebo Matniyozova rededicates herself to self-discipline and self-improvement as a writer and a student. Dilnoza Rakhimova celebrates her personal journey towards academic and professional success. Amonboyeva Shahnoza Yusupboy speaks to how one can build lifelong character through the habits one develops as a student. Dildora Toshtemirova urges people to have perseverance in pursuing their dreams.
Omonova Shakhzoda considers how extracurricular activities shape student leaders. Priyanka Neogi celebrates the many women joining the ranks of cricket players. Nidia Garcia speaks to an artistic partnership between a musician and her violin.
Z.I. Mahmud highlights the artistry of older American cinema, some iconic acting performances in particular. Actor and critic Federico Wardal spotlights the movie in which he most recently appears, Anita, which is being shown in San Francisco and receiving the Italian Courage for Freedom film award.
Film is one form of human creative endeavor, and there are many more we celebrate in this issue. Sotvoldiyeva Muslima affirms the crucial nature of the rule of law to a civilized society. Odilova Odinakhon discusses the need for lawyers to receive continuing education. Aziza Toshpo’latova goes in depth about the roles and responsibilities of translators and proposes ways to strengthen the field. Emran Emon presents himself to the world as a qualified international journalist. Boboqulova Durdona presents technical solutions for improving the efficiency of the electrical grid in Uzbekistan. Nordona Norqulova outlines problems with and suggests solutions for the administration of Uzbek public institutions.
Our knowledge can enhance our capacities for protection and wisdom as well as for expansive creation. Baxronova Vasila urges moderation in prescription of antibiotics to children. Nurboboyeva Dilshoda’s essay highlights strategies to intervene and lessen the risk of youth suicide in our age of social media. Nazirova Madinakhon outlines strategies for protecting our digital data from online miscreants.
Education in Human-Machine Collaboration: A New Era in Foreign Language Learning
Nurdinjonova Rayhona
Student of Ishoqxon Namangan State Institute of Foreign Languages
Introduction
In the modern era, artificial intelligence (AI) is no longer a distant concept—it is a vital part of almost every human activity. Education, particularly foreign language learning, has seen profound transformations with the integration of AI tools and platforms. AI has revolutionized how learners acquire, practice, and refine their linguistic abilities, enabling a more interactive, personalized, and efficient learning experience.
Through human-machine collaboration, students can develop not only linguistic knowledge but also critical thinking, creativity, and digital literacy skills. Moreover, AI-based systems provide opportunities for autonomous learning, immediate feedback, and real-time communication, turning traditional classrooms into dynamic environments. As a result, the relationship between teachers and learners is evolving, with AI serving as a supportive partner rather than a replacement for human intellect.
Main Part
1. The Role of AI in Foreign Language Teaching
Artificial Intelligence plays a significant role in transforming language education into a more adaptive and personalized experience. AI-driven tools such as Duolingo Max, Grammarly, ChatGPT, and Replika AI act as virtual assistants that analyze learners’ progress and provide tailored feedback. For example, a student using Duolingo Max can receive instant corrections and explanations for grammar mistakes, while Grammarly improves their writing by offering context-aware suggestions. Similarly, ChatGPT can simulate real-life conversations, helping students enhance their speaking and comprehension skills in a natural dialogue setting. This form of learning fosters independent study and builds confidence, as learners actively participate in their development process rather than passively absorbing information.
2. Advantages of Learning with Machine Collaboration
AI enables learners to move beyond traditional rote learning by creating an engaging, interactive environment. Through adaptive algorithms, AI systems automatically adjust the difficulty level of exercises based on a learner’s performance. This ensures that each student studies at a comfortable pace, reducing stress and enhancing motivation. Moreover, AI facilitates communication practice by generating real-life scenarios—for instance, role-playing exercises where students can practice ordering food in a restaurant or discussing travel plans. Teachers, on the other hand, can use AI analytics to monitor student progress, detect weaknesses, and personalize instruction accordingly. This collaboration allows teachers to focus on creativity, mentorship, and emotional support—areas where human input remains irreplaceable.
3. The Potential of AI in Literature Education
AI can also play an innovative role in literature classes by assisting students in text analysis and interpretation. Natural language processing technologies can analyze the tone, themes, and stylistic elements of literary works. For instance, a learner studying Shakespeare can use AI software to compare linguistic patterns across different plays, while another might explore the emotional depth of a novel using sentiment analysis tools. Furthermore, interactive chatbots can be designed to mimic literary characters, allowing students to ‘converse’ with figures such as Hamlet or Elizabeth Bennet to better understand their motivations and conflicts. Such applications nurture creativity, deepen comprehension, and make classical literature more relatable to modern students.
4. Ethical and Pedagogical Considerations
Despite its many advantages, the use of AI in education raises important ethical questions. Over-reliance on technology can reduce students’ critical thinking abilities and limit their capacity for independent reasoning. Moreover, data privacy and the responsible use of AI tools must always be prioritized. Educators have the responsibility to guide learners in using AI ethically and effectively. AI should not replace teachers but rather serve as a bridge that enhances learning and makes education more accessible. By maintaining a balance between human creativity and machine precision, educators can create a holistic learning environment where technology complements human intellect.
5. Future Prospects of Human-Machine Collaboration
The future of language education lies in the continued development of intelligent systems that promote collaboration between humans and machines. AI is expected to become even more personalized, offering emotional and cultural context in addition to linguistic assistance. In the near future, AI tutors might be able to detect a student’s emotional state through voice or facial expressions and adapt the lesson accordingly. Virtual and augmented reality will further enrich the learning experience by creating immersive environments where learners can practice languages in realistic situations. However, it is essential that such innovations always remain human-centered, ensuring that technology supports, rather than dictates, the learning process.
Conclusion
In conclusion, artificial intelligence has become a transformative force in the field of foreign language education. Human-machine collaboration not only improves the quality of learning but also promotes creativity, autonomy, and inclusivity. Teachers and students alike benefit from AI’s ability to analyze, adapt, and personalize the educational process. Nevertheless, the human element—empathy, moral reasoning, and imagination—must always remain at the center of education. By embracing AI responsibly, we can shape a future where technology and humanity coexist harmoniously, enriching both language learning and the broader educational landscape.
References
1. Russell, S., & Norvig, P. (2020). Artificial Intelligence: A Modern Approach (4th ed.). Pearson Education.2. Luckin, R. (2018). Machine Learning and Human Intelligence: The Future of Education for the 21st Century. UCL Institute of Education Press.3. Holmes, W., Bialik, M., & Fadel, C. (2019). Artificial Intelligence in Education: Promises and Implications for Teaching and Learning. Center for Curriculum Redesign.4. UNESCO. (2023). AI and Education: Guidance for Policy-Makers. Paris: United Nations Educational, Scientific and Cultural Organization.5. Oxford Insights. (2024). The Global AI Index: Education and Innovation. Retrieved from https://www.oxfordinsights.com/ai-index6. Turing, A. (1950). Computing Machinery and Intelligence. Mind, 59(236), 433–460.7. Wong, G. K. W. (2023). AI-Powered Language Learning: Pedagogical Perspectives and Challenges. Journal of Educational Technology, 18(2), 45–57.
