Spring!
We waited for you when we were children,
We used to run down the hill,
Blue-green grass is the strangest corner,
Bud reminded you today.
We would build a tent out of grass,
What a hero Clouds was.
We made wreaths, beautiful,
Your beauty was also a gem.
When I think about it, I don't appreciate you.
I will not laugh with you when the time comes.
I didn't become your daughter, Marjon,
I don't feel you com, spring...
Spring...
Marjonabanu Khushvaktova was born on June 13, 2004 in Kokdala district of Kashkadarya region. Currently, she is a 2nd year student of Shahrisabz State Pedagogical Institute. Her creative works are in “Taloktepa tolei” , “Taloktepa tolei” selection book and “The smart youth of Uzbekistan”, “Raven Cage Zine”, “Page 3 News”, “Youth of Uzbekistan” “Yoshlar bayozi” and has been published in many international books, magazines, newspapers and anthologies, and is the owner of many diplomas and certificates.
Effectiveness of Online Language Learning Platforms
Ibragimova Rushana Bobomurod daughter
Shakhrisabz State Pedagogical Institute
4th stage student
Abstract
The rise of online language learning platforms has transformed traditional approaches to language acquisition by offering learners increased flexibility, accessibility, and a range of interactive resources. This paper examines the effectiveness of these platforms, highlighting their advantages, such as the ability to learn at one’s own pace, the use of gamification, and access to native speakers and authentic materials. However, challenges such as the lack of personalized feedback and potential issues with learner motivation and accountability are also discussed. The paper finds that while online language learning platforms can be highly effective for motivated and disciplined learners, they are most beneficial when used as a supplementary tool in a blended learning approach.
Introduction
The advent of the digital era has revolutionized various aspects of human life, and education is no exception. Online language learning platforms have emerged as popular tools for acquiring new languages. Platforms such as Duolingo, Babbel, and Rosetta Stone have become popular due to their convenience, affordability, and innovative use of technology. These platforms offer learners flexibility, convenience, and access to a wide range of resources that are often not available in traditional classroom settings. This paper aims to explore the effectiveness of online language learning platforms, focusing on their advantages, potential drawbacks, and overall impact on language acquisition.
Advantages of Online Language Learning Platforms
One of the primary benefits of online language learning platforms is their accessibility and flexibility. Unlike traditional classroom settings, online platforms allow learners to study at their own pace and according to their own schedules. This flexibility is particularly beneficial for individuals who may have full-time jobs, family responsibilities, or other commitments that prevent them from attending regular classes. Platforms like Duolingo, Babbel, and Rosetta Stone provide learners with the opportunity to practice language skills anytime and anywhere, as long as they have an internet connection. Moreover, online language learning platforms often employ interactive and engaging methods to teach languages. These platforms use a combination of text, audio, video, and interactive exercises to enhance the learning experience. For example, Duolingo incorporates gamification elements, such as points, levels, and challenges, to motivate users and keep them engaged. Studies have shown that incorporating interactive elements in learning can significantly enhance knowledge retention and comprehension (Zarzycka-Piskorz, 2016).[1] By offering varied and interactive content, online language learning platforms cater to different learning styles, making language acquisition more effective. Another significant advantage of online language learning platforms is the access to native speakers and authentic language materials. Many platforms offer features that allow learners to connect with native speakers for practice, either through text chat, voice calls, or video calls. Websites like iTalki and Tandem enable learners to find language exchange partners or tutors, providing an immersive experience that is crucial for developing speaking and listening skills. Additionally, online platforms often include real-world content, such as news articles, videos, and podcasts, allowing learners to engage with the language in authentic contexts.
Challenges and Limitations
Despite their numerous advantages, online language learning platforms also have some limitations. One of the main challenges is the lack of personalized feedback. In traditional classroom settings, teachers can provide immediate, tailored feedback to students, which is essential for correcting mistakes and improving language skills. However, online platforms often rely on automated systems that may not always accurately assess nuanced language use or provide detailed explanations for errors. While some platforms do offer access to human tutors, these services often come at an additional cost, which may not be affordable for all learners. Another limitation of online language learning platforms is the potential for reduced accountability and motivation. Learning a language requires consistent practice and dedication, and some learners may struggle to maintain motivation without the structure and accountability provided by a classroom environment. The flexibility of online platforms, while advantageous, can also lead to procrastination and irregular study habits. Research has indicated that learners who lack self-discipline may find it challenging to progress in online learning environments (Kizilcec, Pérez-Sanagustín, & Maldonado, 2017).[2]
Evaluating Effectiveness
The effectiveness of online language learning platforms depends on several factors, including the learner’s goals, learning style, and level of self-discipline. Studies have shown that learners who are highly motivated and disciplined can achieve significant progress using online platforms. For example, a study conducted by Vesselinov and Grego (2012)[3][4] found that users of the Duolingo platform made substantial gains in their language skills, equivalent to a semester of university-level language study. However, the same study noted that dropout rates were high, suggesting that not all learners find online platforms suitable for their needs. It is also important to consider the role of online platforms as a supplementary tool rather than a replacement for traditional language learning methods. Many language educators advocate for a blended learning approach, combining online platforms with in-person classes or other interactive methods. This approach leverages the strengths of both online and offline learning environments, providing learners with a more comprehensive and effective language learning experience.
Conclusion
Online language learning platforms offer a flexible, accessible, and engaging way to learn languages, making them a valuable resource in the modern educational landscape. They provide learners with the opportunity to practice language skills at their convenience and offer a variety of interactive and authentic materials. However, these platforms also have limitations, including the lack of personalized feedback and potential challenges with motivation and accountability. The effectiveness of online language learning platforms ultimately depends on the individual learner’s goals, discipline, and commitment. As technology continues to evolve, these platforms will likely become even more sophisticated, providing enhanced features and more personalized learning experiences. For now, they serve as a powerful tool that, when used effectively, can significantly enhance language acquisition.
References
1.Kizilcec, R. F., Pérez-Sanagustín, M., & Maldonado, J. J. (2017). Self-regulated learning strategies predict learner behavior and goal attainment in Massive Open Online Courses. Computers & Education, 104, 18-33.
2.Vesselinov, R., & Grego, J. (2012). Duolingo Effectiveness Study. City University of New York.
3.Zarzycka-Piskorz, E. (2016). Kahoot it or not? Can games be motivating in learning grammar? Teaching English with Technology, 16(3), 17-36.
[1] Zarzycka-Piskorz, E. (2016). Kahoot it or not? Can games be motivating in learning grammar? Teaching English with Technology, 16(3), 17-36.
[2] Kizilcec, R. F., Pérez-Sanagustín, M., & Maldonado, J. J. (2017). Self-regulated learning strategies predict learner behavior and goal attainment in Massive Open Online Courses. Computers & Education, 104, 18-33.
[4] Vesselinov, R., & Grego, J. (2012). Duolingo Effectiveness Study. City University of New York.
Ibragimova Rushana Bobomurod’s daughter. She was born on September 5, 2004 in Mubarak District, Kashkadarya Region. She has several international certificates. She can communicate fluently in English and Turkish. Currently, she is a 4th-year student of Foreign Language and Literature at the Shahrisabz State Pedagogical Institute.
Enlightening the heart with the light of knowledge.
Awakening beautiful virtues in the heart,
Completely forgetting their own comfort.
NATION, MOTHER, FRIENDSHIP, LOVE, and AFFECTION,
Demonstrating their essence like a guiding flame,
Burning for someone’s destiny,
Spending sleepless nights in their thoughts.
Yet there’s no debt for all this love!
Only a bright future is my only reward.
If my heart is a mountain, should I succeed,
It will embrace me, saying, “My child!”
If I achieve my goals,
All my efforts are merely a drop in the ocean.
If I weigh both of us on the scale,
THIS HUMAN is the ocean, and I am simply a drop.
Life flows like a rushing river,
Constantly adding youth with every passing moment.
But I will not erase this person from my heart,
The loving TEACHER who introduced me to the world.
Musurmonova Gulshoda Olimjon qizi was born on March 9, 1997, in Jizzakh district of Jizzakh region. After completing secondary school, she attended an academic lyceum and then continued her education at Jizzakh State Pedagogical Institute in the Faculty of Primary Education.
During those years, her interest in writing poetry began to develop. Currently, she is teaching primary classes at school number 42 under the system of MMTB in Sharof Rashidov district of Jizzakh region.
Gulshoda is married, and her poetry predominantly covers themes such as Parents, Homeland, Love, Consequences, and Life. She deeply expresses human feelings and promotes enlightenment in her works.
Bivouacking among nameless bards, sounding boards transfixed by twinges of toothache,
i summon monsters masked by pain and anguish under bombardment
skilful tightrope walkers on the strings of enchantment, or disenchantment,
intermittent comet stars.
Shunning wishes of the Maurizio Costanzo Show,
like eighties vates, we take to the streets to sing,
and to endure charges like animals in battery,
never surrendering to the scheming
created by statesmen alien to all embarrassment.
OUT OF ISCHEMS
Try, once in your life, to stop living outside each ischeme,
without constant ink interruptions to the vein’s phoneme,
so that the western crisis becomes an occipital crisis,
with the saving of ants increase the consumption of cicadas.
As you stopped reading, at least stop writing
‘public’ that doesn’t exist and forces us to sell books like vacuum cleaners,
Porta a Porta, where Novi Aldi goes on Vespa and returns Bompiani,
after abandoning Theseus’ ship, in whiff of hurricanes.
This is the century, or the millennium, of the professional artist
not knowing how to do anything, you are content to remain a figurehead,
among the various shrewd actors and actresses of the publishing market
willing to give their children to a rom in exchange for an inch of shelf space
in the prestigious Feltrinelli bookshop in your town
you don’t want to stop living out of ischems, c’aggia fa?
I DON’T CARE
For the last twenty years or so, ‘I don’t care’ has been back in fashion,
herds of brainless constipated people, all, in search of the rehabilitierung of ego,
brick by brick, in the black shirt of ignorance organising raids,
with the outcome of ending up dead, a mosquito bite away, on couch Freud’s.
The new mass, without any strength, waiting for an acceleration,
placed under scrutiny receives its models from television magazines,
moved by a self-esteem disproportionate to its actual neural entity,
ite, missa est, giving extreme unction, being a cancerous mass.
Talking to the average italian is like talking to Louis XVI,
an anencephaly patient who dreams of residing in the Medici court,
living in Masters of Florence, the Renaissance soap opera,
forcing you to surrender to the Magone as Lucius Chinchus Alimentus.
With the new ‘I don’t care’ generations we should build democracy,
stuff of exterminating homo sapiens sapiens with an attack of epizootics,
we will rely on a detailed deliberative referendum of protest,
forcing our fellow-citizens to use their heads.
ASSAULT ON THE OVENS
Panem et circensens is asked of the contemporary artist,
playing the clown at readings grants 15 minutes of impromptu success,
they read kilometres of verse, written in half an hour, with a shrewd attitude,
they would also declaim verses in arabic if Isis established a Caliphate in Palermo.
They read, read, read, all the flour of their infinite sack
and we, with our gags on, to be subjected to their dribbling to end up in checkmate,
the queen, bored, is undecided whether to fuck the king or a horse,
and the contemporary reads, reads, without allowing us an interval,
without allowing himself an interval, between one bullshit and another, without ever being satisfied
he has to bring home the bread-roll, hey, as an artist who boasts of being overpaid.
THE BARBARIAN AND THE PRINCESS
To you who observe with your bistro eyes my discontents
you defuse me with a smile, you neutralise me with a love
as enduring as a Compact Fluorescent Lamp,
becoming aeriform, neon, argon, krypton,
maybe it’s the krypton that deactivates my Superman cravings,
climbing up my spine with catlike paws,
dissuading me from gobbling, from drinking, from brawling, from stopping writing.
Princeza romana, eu sou seu bárbaro,
i keep wearing white tank tops in my black underwear
not washing the dishes, banging on the keys,
better than washing the keys and banging on the dishes,
i kidnapped you on a raid on the coasts of Gaeta,
enchanted by you, late-modern Circe,
capable of turning pigs into men,
pig’s heart is equal to the human heart,
you alone have understood this, in twenty years, with your insulinous carefreeness,
with your insecurities, with your premenstrual breakdowns, with your questioning face,
always capable of disconcerting me, square mime destined to go bald,
without replacing me.
Princeza romana, eu sou seu bárbaro,
yet without being able to dedicate Odi barbare to you,
i am not equipped to hate anyone, or to mix metres,
– what shall we do, half a metre?- better my aptitude for duelling,
Ro rocamboling, half Cyrano de Bergerac and half Socrates,
i’m convinced that you prefer me whole, and long-life,
not having the ambition of the modern woman
to turn her man into an asshole.
AT THE TAVERN OF SOLID LOVE
My little love, solid, you, today, fell
and i was not there to support you, with my aggressive biceps
of a barbarian from the northern forests, my face painted blue,
lying in the spasmodic berserksgangr of drinking from the skulls of the vanquished,
it all begins with a trembling, chattering of teeth and a feeling of cold,
immense rage and a desire to assault the enemy.
My little love, fragile, you, today, fell,
and there is a tavern behind our house, all brianzola, your new world,
there is a tavern that serves a hundred and a hundred types of risotto
to spread on your wounds and on your skinned knees,
where i, imperative man, can still interpret every amber darkness
in your wise child’s eyes, manipulating the kaleidoscope of your irises,
voluntarily uncovering my flank to the dagger of your arctic lucidity.
If not a tavern, our love, resembles us: we eat and live,
remunerating each other, victories and defeats, hôtellerie, we bustle and eat,
until the innkeeper Godan, the god of stubborn ‘poets’, slams a mug of mead on the table
invite us to dance at Walhalla, Mocambo a contrario, dance far away, to the end of the worlds,
you will return to the simple freshness of your sea, you wandering caetan siren of sand,
and to me the fog-damp earth of the valley without ascents or descents will not weigh on my zinc.
In the ancient taverns of solid love continue to mix fog and sea-water,
outside thunderstorms, lightning and thunder, liquefied by the cloudburst everything is drying out,
and we, we eat and live, we bustle and eat, sheltered, in our reserve of happiness,
aware that, hovering in the air, in the long run,
the misty ice crystals will flow into the sea.
Ivan Pozzoni was born in Monza in 1976. He introduced Law and Literature in Italy and the publication of essays on Italian philosophers and on the ethics and juridical theory of the ancient world; He collaborated with several Italian and international magazines. Between 2007 and 2024, different versions of the books were published: Underground and Riserva Indiana, with A&B Editrice, Versi Introversi, Mostri, Galata morente, Carmina non dant damen, Scarti di magazzino, Qui gli austriaci sono più severi dei Borboni, Cherchez la troika e La malattia invettiva con Limina Mentis, Lame da rasoi, with Joker, Il Guastatore, with Cleup, Patroclo non deve morire, with deComporre Edizioni and Kolektivne NSEAE with Divinafollia. He was the founder and director of the literary magazine Il Guastatore – «neon»-avant-garde notebooks; he was the founder and director of the literary magazine L’Arrivista; he is the editor and chef of the international philosophical magazine Información Filosófica. It contains a fortnight of autogérées socialistes edition houses. He wrote 150 volumes, wrote 1000 essays, founded an avant-garde movement (NéoN-avant-gardisme, approved by Zygmunt Bauman), and wrote an Anti-manifesto NéoN-Avant-gardiste. This is mentioned in the main university manuals of literature history, philosophical history and in the main volumes of literary criticism. His book La malattia invettiva wins Raduga, mention of the critique of Montano et Strega. He is included in the Atlas of contemporary Italian poets of the University of Bologne and is included several times in the major international literature magazine, Gradiva. His verses are translated into 25 languages. In 2024, after six years of total retrait of academic studies, he return to the Italian artistic world and melts the NSEAE Kolektivne (New socio/ethno/aesthetic anthropology) [https://kolektivnenseae.wordpress.com/].
Grant Guy is a Winnipeg, Canada, theatre maker and poet. He has 6 books published and his poems and satories have been published internationally online and as hard copy. He was the 2004 recipient of the Manitoba Arts Council’s Award of Distinction and the 2015 Winnipeg Arts Council’s Making A Difference Reward.
Today’s poems are very reductive. They reflect more of the micro theatre pieces I began during the time of COVID. In the micro theatre pieces the object or the gesture was the event. In today’s poems the words are the event. Each word and/or line can be connected as pieces of shards by the reader.
Mother Courage and Her Children is a theatre of the absurd canonizing nihilistic expressionism in modern European drama through the nebulous and meteoric phenomenon that crusading battlements feed people better as Marxist dialectics of warfare polity enterprise. Modernist playwright and avant-gardist theatrical theoretician sheds light in the evolution of constant revolutionizing of production, the uninterrupted disturbances of all social conditions, and the everlasting agitation and agony. Anna Fierling’s femininity, womanhood and motherhood is marred by the deterrent of trauma, violence, famine, poverty, bloodshed and civil wars, massacres and genocides and finally the bereavement of family members to geopolitical crises. Kattrin is a dumb disability rape victim of beleaguered Catholic regiment and her life is doomed to the brink of death at the expanse of messianic heraldry to awaken the Ingolstadt community and Utretch neighbourhood against the impending imperilment.
In context of postmodernism, post marxism, post communism, post stalinism, post fascism, postnazism the post Brechtian epic theatre is a treasure hunt of excavating and critiquing geopolitical tensions and conflicts amid globalization, liberalization, privatization, internationalization and sanction-counter sanction policies. Terrains and frontiers of capitalistic mercenary profiteering warfare politics usher satire of Mother Courage and Her Children to be cornerstone significance in contemporary legacy of Israel and Gaza or Russia and Ukraine. However, Mother Courage’s stony heartedness disentangles and estranges the stance of motherhood for preservation stake of survivalist livelihood; coldheartedness diminishes in grief stricken soul and freezing heart to glimpse the postmortem view of Swiss Cheese’s dead corpse. Resourcefulness, resilience, craftiness, perspicacity and intuitiveness deserves heartfelt kudos and laurel accolades as a gendered quester and displacement refugee of racial and ethnic migrant to spatiotemporal dystopian apocalypse. Exilic Brecht’s rage and fury was subjected to the temperamental vehemence of the then World War II Nazi German Holocaust. Atisemitism forges a cascade of hatred, oppression, antipathy, intolerance, inhumanity and barbarism towards Jewishness. Perpetual horror and terror of Nazi Germany substantively mirrors excruciating endangerment of Mother Courage as foretold by the tragic death chronicles of her Swiss Cheese and Eiliff. In Mother Courage and Her Children, Kattrin symbolically resurrects the foreshadowing of Anne Frank’s afterthought that “Dead people receive more flowers than the living ones because regret is stronger than gratitude”. Through Kattrin’s heroic demise and sacrificial martyrdom Brecht spotlights the Marxist resistance and Marxist revolution. Her dumbness is transformatively changed to the libertarian human voices from the performativity of forces which render silence. Destruction and desolation of entrenched warfares afterall allegorizes the wartime backdrop of the theatrical production. Furthermore, Mother Courage’s staking of autonomy and individuality vis a-vis establishment and enfranchisement for her labour, worth, power and profit parallels resistance and struggles of the serfs and proletariat of Nazi Germany.
Audiences and theatre critics speculate anti war play today as a reflection of warzones wherein mother courages are locked into the closets of detention centres throughout certainly. Bold and radical theatres and productions stage the modern European drama Mother Courage and Her Children as theatrical revue. Suffering and survival of the battlefields in the war frontiers of geopolitical disruptions lead to victimhood from war casualties. Dramatis’ personae of Mother Courage’s pragmatism engulfs her sentimentality into obscurity through the let bygones be bygones realism of continuity with the trade. Moreover, the future and safety of Eiliff and Kattrin are of paramount importance as revealed by the brunt of conservancy of the wagon. Mother Courage’s socioeconomic status facilitates her transcendentalist redemption from economic encumbrance and financial bankruptcy. However, “when the war gives you all you earn, one day it may claim something in return” is denunciation of the sergeant starkly apparent in the pawnship of Swiss Cheese’s life. Formidable survivor Anna Fierling is much more a character of the petty bourgeois class evolving into the exemplar premise of socialist realism with the coalescence of the Cold War as anti-capital and anti-war epic theatre. Afterall, Mother Courage’s polarized dual personality as both heartless speculator and tormented maternal figure are entrenched with inexpressibly incompatible paradoxical gulf between herself and the world. Anna Fierling’s modern disfigurement foreshadows the relationships between commodities, money and the marketplace that perverts human relationships and is ultimately inimical to life. Her wagon is a hallmark symbol of profiteering capitalistic enterprise of a doggerel and bloody warfare as well as unfolkloric and unsentimental victimhood of traumatic survival.
Bertolt Brecht as a precursor of anti war epic theater heralds the harbinger of impending second world war and the dangers associated with victimization in traits of Solomon, Julius Caesar, Socrates and St. Martin. Although these personages are heroically admirable for their humane virtues, however, they are cowardly and despicable for being preys of wartime. The Brechtian epic theatre focuses dialectical social critique rather than tragicomedy to educate critical faculties for the reception of alienated point of view and detached perspectives. Willing suspension of disbelief is somewhat polar opposites to Brecht’s engendering of illusion.
Further Reading, References, Endnotes and Podcasts
Belvoir 2015 production of Mother Courage and Her Children by Bertolt Brecht Translation Michael Gow Music Composition Stefan Gregory Director Eamon Flack Notes for Teachers, pp: 1-23
Review Paper on Mother Courage and Her Children by Bertolt Brecht
The Death of Tragedy George Steiner pp. 1-40
Konstantin Stanislavski An Actor Prepares pp. 1-20
Mother Courage and Her Children On Stage and Screen by Ralf Remshardt, pp. 1-10
Mother Courage and Her Children Study Guide Bertold Brecht in a new version with Peter Hinton a national Arts Center English Theatre Company Manitoba Theatre Centre (Winnipeg) Coproduction, pp. 1-28
