Zulfiya’s poetry brings a sense of calm and peace to the human heart. In every line of her verses, love, loyalty, and a deep affection for life are embodied. Her poems reveal the delicate emotions of a woman’s soul and reflect the simple yet profoundly important truths of life.
The most common themes in Zulfiya’s works are love, devotion, love for the Motherland, and peace. While reading her poems, a person finds an opportunity to listen to their inner feelings and to better understand life and human emotions.
Zulfiya wrote many well-known poems. For example, the poem “My Son, There Must Be No War” expresses a mother’s inner pain, her fear for her child, and her longing for a peaceful life. Poems such as “Devotion” and “Spring in the Heart” call people toward kindness, patriotism, and faithfulness.
Zulfiya Isroilova is a poetess who brought light into the human soul through her poetry. Her works have not lost their significance even today. The poetess’s writings encourage young people to grow up kind, patriotic, and humane.
Isroilova is a unique poetess who illuminated hearts and awakened emotions with her words. While reading her lines, the reader not only gains information but also deeply feels the subtle aspects of life, human experiences, and valuable lessons. In my opinion, Zulfiya’s creativity encourages us to better understand ourselves and the world around us.
Jeffrey Cyphers Wright received his MFA after studying with Allen Ginsberg.
A New Romantic poet, he is also a publisher, art and literary critic, eco-activist, impresario, filmmaker, and artist. He is author of 20 books of verse, including Blue Lyre,Party Everywhere, and Doppelängster; Self Portraits in a Funhouse Mirror. Wright publishes Live Mag! His work appears in Best American Poetry, 2023. He has received a Kathy Acker Award for both publishing and writing. His most recent collection called Fuel for Love, won the James Tate Award for poetry in 2023 and was published by SurVision Books. You can see Wrightt’s films and puppet shows on Youtube.
Hi, Uncle Fun. May I address you by this name? How did you become a poet? When did you write your first poem? What was the state of the American poetry scene when you first started out?
Ha ha. Yes, Yongbo, you may call me Uncle Fun. I am proud of that moniker. Ever since coming to New York in 1976 and falling under the spell of Ted Berrigan and Saint Mark’s, I realized poetry should always be fun. That doesn’t mean it should always be funny.
When I started out, the scene was morphing from a lot of formalism to include new modes of expression. There were the Beats. Black Mountain College. Bukowski. And then a lot of small presses started up. A D.I.Y. (Do it Yourself) spirit took hold.
2. What was your breakthrough work or first poetry collection that drew attention from the poetry community?
I had an epiphany in Alice Notley’s workshop at St. Mark’s. Alice had the class do an Oulipo style writing exercise. She told us to write while she read a text out loud. Suddenly it clicked for me. I began cutting and pasting in my mind, creating a sort of high-toned, John Asbury type, faux narrative. The work is called “Malaise in Malaysia,:” It was published by Toothpaste Press (now Coffeehouse Press) with artwork by Yvonne Jacquette.
3. What characteristics distinguish your representative works from those of your contemporaries?
Employment of the Apes, published in 1979, was racy and fast. It was both highbrow and low, mixing vernaculars and textual presentations. It included quotes from my poet friends and influences. It evoked a sense of family. I was raising two sons with my partner. Not everybody had kids. Importantly, the book also included visual works from Alice Notley, Andrei Codrescu, others, and myself.
My latest book, Erato’s Inbox, An AI-Luminated Manuscript, continues to be racy and include artwork. I asked AI image generators to portray lines from the book-length poem. Like Employment of the Apes, this book relied on some collaboration, notably from publisher and designer Barbara Rosenthal of Xanadu Press.
My work still highlights imagery, wordplay, lyricism, and persona. It is at once very formal and very spontaneous. It contains more surrealist imagery than my peers. And I think I have more anthropomorphism than much of American poetry. I let nature do the talking sometimes. Even if it’s urban nature, like a nightclub or a train window.
There’s a haute punk troubadour element that is authentic to the East Village where I’ve lived so long. My work also reflects a broad exposure to American mythology. I’ve lived in ten states (plus London). My persona is grand and aspires to be a folk hero, projecting a winning attitude and providing evidence of a moral core.
4. What stages of development has your poetry gone through? What are the representative works and main themes of each stage? Could you elucidate them with specific poem examples?
My first real poem was New Romantic though I didn’t start using that term for another decade. “The day you left… left scars in the sky where stars fled, the drawers full of blood, washed and folded like so many days.”
It had lyric lines and surreal images just as I do now. But it did not yet have much texture or many different voices coming in. It was basically a break up poem. I think the sense of trying to unite with an “other” has always been my main theme.
I began writing sonnets in earnest in graduate school at Brooklyn College. The love poems of Sir Thomas Wyatt especially hit me. I also had “The Sonnets” by Ted Berrigan to encourage and enlighten me. Free-form poetry and open field poetry offered too many choices about how to present words on a page. The sonnet form gave me structure. For similar reasons, I also like to write haiku. Because of the structure, but also because of the erudite, civilized content that is associated with these two forms.
Walking on Words from 1996, Vendetta/Iniquity Press(with a cover by Ron English), was fairly developed in content and lyricism. Flourish, from 2004, was my first book of all sonnets — all of them with differing stanza arrangements.
5. Which postmodern school do you belong to? What is your view on the role of postmodernism, and what changes has it brought to American poetry?
Well, it’s funny, because there are so many currents, from prose poems to hybrid texts like Claudia Rankine’s popular book Citizen. There’s an academic tradition that is about precision and reference and confessional, narrative poems. There’s spoken word and rap-style poetics and confessional poems and identity poems. There are eco poems and resistance poems. Experimental poems. I’ve used Flarf techniques, which is a response to the internet in some ways, offering countless cut-up possibilities.
There’s not much consensus but there is endless style. All poets probably want their poems to have relevance. And there are different ways to get there. I’m drawn to poems that project a contemporary persona but have a deep knowledge of history, art, religion, mythology, and literature. I like to see reflections of former literature resonating in newer work. I try to keep up as much as I can, old and new. As my girlfriend says, “You should read twenty poems to write one.”
6. You have three renowned teachers: Allen Ginsberg, Ted Berrigan, and Alice Notley. What did they teach you?
Great question. Allen was very much about meter and milieu. He said to me, “If you aren’t writing by meter, you’re writing by the seat of your pants.” And I very much was — I actually wanted my work to come from the edge. Every line to stand alone. As my style developed I became more aware of meter. Visually, I didn’t want lines that were too long or too short. This forced the poems to scan. Now my poems have meter.
Ted was very inspiring. He was a great reader, his voice was full of timbre, indicating variously, authority, humor, love — pathos. He told me that a poem didn’t have to be perfect. It just had to work. That has saved many of my poems.
Ted also said to “Write with radio on.” He meant that we should let the world into our poems. That was directional and liberating. Ted also gave me a model of a totally dedicated artist. And he liked the adage: “A bad poet borrows, a good poet steals.”
Alice — Alice had a voice that fused poetry and life. So many of Alice’s poems are heartbreaking. “Who will know the desolation of St. Mark’s Place / With Alice Notley’s name forgotten and / This night never having been.”
She recognized my musicality and my sense of being in the moment. She wrote in preface to All in All (Gull Books, 1986) “Jeff Wright knows how to be, on the page, both in his house & in his imagination.” Alice reenforced the qualities that made me a New Romantic.
7. Which poets, predecessors and contemporaries, have had a significant influence on you?
My father could recite two poems: Edgar Allen Poe’s “The Raven” and Coleridge’s “Kubla Khan.” I loved Walt Whitman in Junior High School. When I was 15 our English teacher introduced us to ee cummings and I was in awe of the freedom he offered. That’s when I begin writing in earnest.
Before I came to New York, I was studying poetry at West Virginia University. Jayne Anne Phillips, the recent Pulitzer Prize winning novelist, was there and encouraged me. I had a job at the library which happened to have an amazing collection of foreign poets.
I was hugely inspired by Lorca and Mayakovsky. At the time I thought the American poetics were academic, stilted and overwrought. I did gravitate towards the more surrealist poetics of Robert Bly, James Wright, and Bill Knott. John Berryman. Prior to that, I had been inspired by T.S. Eliot and Dylan Thomas. Also, I’ve always felt a sense of kinship with Asian traditions, giants such as Li Po, Tu Fu, and Wang Wei. Some modern Chinese poets I admire greatly include Lao Zhin, Li Shangyin, and Duo Duo. And you! You strike me as a New Romantic too.
Elaine Equi is another New Romantic contemporary poet who embraces magic and fairy tales in her work. She also uses titles very well. Her work showed me the advantage of integrating titles in a more direct way to orient a reader and also to focus on my message.
A decade ago, Alex Lemon’s book Hallelujah Blackout shook me up and gave my syntax a fresh direction. He was mashing words together with hyphens to heighten their urgency and immediacy. I used this technique in Triple Crown (Spuyten Duyvil, 2013): “lurch-walking on wracked limbs.”
8. You have been called “a known New York impresario of spoken word and the oral tradition.” Please talk about your explorations in poetic language.
My first poetic home was St. Mark’s Church. At one time I would go to two or three readings a week, plus attend workshops. The oral traditions that had grown out of the Beats combined with the conversational lilt of the New York School. People found their distinctive voice as they read their own work to each other.
Within a year of moving to New York I began a reading series with Jim Brodey. We had Anne Waldman and Ron Padgett read and a lot of our own contemporaries like Bob Holman and Eileen Myles. Since then I’ve organized and hosted hundreds of readings and published hundreds of poets. As a master of ceremonies, it’s my job to welcome the audience and introduce the readers. I guess this aspect of the poetry business has influenced my poetry, giving me confidence and practice in getting people to listen. I’ve been trying to understand what they want to hear.
9. In the early 1990s, you invented “New Romanticism,” a poetic movement that is at once joyous, communal, erotic, and spontaneous. Blue Lyre (Dos Madres Press, 2013) is, in a sense, the culmination of New Romanticism. Please discuss the main contributions of New Romanticism and how it differs from traditional Romanticism. Also, could you share two of your most satisfying poems from Blue Lyre?
I realized that my main muse was my lover. That my persona was addressing a significant other. So there was a sense of intimacy, as if I were talking directly to the reader. So often, my favorite poems by others are their romantic works, such as Captain’s Verses by Pablo Neruda.
When I was introduced to Sir Thomas Wyatt, I was struck by the currency. I could feel his doomed love! I incorporated that fire and updated it to reflect the New York School.
These are from Blue Lyre.
COME ON NOW
Evening stoops under its sodden shawl.
A siren broods; its caterwaul
snarling over blackened roofs.
Someone’s on the run.
Wet tires whisper to Avenue C.
“I’m lost without you,” they swear.
I wanted to be a matador
in Manhattan, dancing with horns.
I wanted to be a genie
smoking in your coat of arms.
While you gave the raindrops names,
I made up a little song called
“You’ll never be happier
than when I was a string on your harp.”
ECHO’S CHAMBER
Mutual love is the law of human life.
—Leo Tolstoy
A fat moon trundles across the sky,
a Mac truck with one headlight.
I sleep alone in night’s salon
pining like a nut.
The only thing better
than one guitar is two guitars,
your sunglasses reflecting my eyes
in July’s jonquiled haze.
Resistance is futile.
Whatever you say.
The DJ is my best friend.
Gulls laugh at love’s slaughter.
I hear you rule with an iron caress.
My ears blaze in your absence.
Like the original Romantics, there is passion, emotion, drama, and nostalgia — an awareness of the ghostly past and an expression of our mortal state. New Romanticism has incorporated the deities of our own day to augment those of the past.
As the term New Romanticism implies, it’s an update in natural speech. “The DJ is my best friend,” could be compared to “Childe Roland to the Dark Tower Came.” There is also a rebellious aspect. The Romantics, in addition to contemporizing speech patterns, were in some part promoting pastoral scenes because of the horrors of the Industrial Age. Likewise, New Romantics are reacting to the inhumanity that can be found in the age of the internet. And like the original Romantics, we represent a revival.
But to be clear, I didn’t invent New Romanticism. It was a cultural phenomenon of beginning in the late 1970s and 80s. It largely came out of the music and accompanying fashion scene in London as a reaction to the austerity of Punk Rock and revamping the fun of Glam Rock. There is also a current in classical music (John Adams). There are also artists (Ross Bleckner, Phyllis Bramson). Robert Charboneau recently wrote an essay about why he is a New Romantic. It had a lot to do with renewal.
10. Speaking of Elaine Equi, she said, “He’s both a poet and DJ for our times — riffing off sights, sounds, songs, and language to create the ultimate cultural remix!” I really like her comment, especially “cultural remix,” which might be an important feature of your poetry. Is this related to your collages? You once summarized your work yourself: “There is a collage quality to my poems — juxtapositions of images, shifting scales and perspectives. A palette of varying textures. Rhyming shapes. Different directional focuses. The collage is built and the poem is too — with a lot of pondering, structuring, and conjuring.” Could you elaborate on this and provide specific examples from your poems?
Yes! Collage is by its nature a remix. I once listed five things I tried to include in my collages. A drawing by me, antique paper, rubber stamps, asemic writing or faux graffiti, and rock and roll stickers. This gave me a base to begin with. The five things can be compared to elements and cultural signifiers in my lexicon: Nature, love, musical lyrics or references, quotes. The sense of a party. And of course I want to use artifice in terms of metaphors, alliteration, rhyme, and cadence.
“Cantata” is a good example of a cultural remix. The title references a Baroque musical style. The poem begins with distress. The first five lines describe a drought. Then the poem segues with the line, “Invisible forces carry us along.” This opens the poem to the cri de coeur that follows: “I am a prisoner of hope.”
CANTATA
Drought robs the sycamores, plucking
leaves in June. A breeze pushes them
into a swarm of withered pages
rasping anxiously across the court.
Then stillness. They die back down.
Invisible forces carry us along.
I am a prisoner of hope.
A congress of loneliness. A dry tear.
An old motor sputters before purring.
Empty boxcars couple with a boom.
Copying Ovid’s playbook, I hold out
for change. Home is made of wings.
Thunder clears its throat but won’t sing.
The goal in life is joy. Today sun reigns.
The images have metaphoric weight beyond there literalness: “Empty boxcars couple with a boom.” The word empty emphasizes the loneliness previously mentioned. It also suggests the romantic and erotic with the “couple” and the “boom,” which could be interpreted as signs of hidden strength. Like Ovid in exile, the poet will “hold out.” He finds the needed resolution: “Home is made of wings.”
The poem goes back for one more image (of sound this time). The thunder promises rain but doesn’t deliver. It won’t “sing.” Then the poem switches back to its obdurate optimism with “The goal in life is joy.” And now we have our resolution, our statement.
The last line is both fatalistic and idealistic. The final word “reigns” is a homonym for rains, giving the poem a surprising echo. And so the poem comes back to the first word “Drought” in an unexpected, opposite way. And the title, “Cantata” is echoed in the next to last line: “sing” which represents a euphemism for rain.
One can look at a poem in many ways. When I deconstruct the poems for myself I am amazed at the connections I didn’t build in but noticed later. It’s a mystery.
11. What evaluations have scholars and fellow poets made of your poetry? How do you define your own position and contributions in contemporary American poetry?
The late, great Hugh Seidman wrote that my artifice “took it over the top” while my “vulnerability saved the day.” My peers appreciate my sense of fun while recognizing my lyric qualities. I’m known for meaningful wordplay and sonic imagery. This wordplay is evident aurally (“Malaise in Malaysia”) but also in twisted cliches and double entendres. “Peter the Great” for instance is a historic figure but is also a phallic joke. I think my sonnets’ final couplets are well regarded. I call that last couplet “the Hammer.”
I’ve also received a Kathy Acker Award and a James Tate Award.
12. Andrei Codrescu called you “our grand lyric master” and “Sextus Propertius in NY.” I’m interested in how these two titles came about. I also want to discuss with you: Is lyricism possible in the contemporary era? I believe that human beings are already in an alienated relationship with others, and in such a situation, even if we engage in lyricism, it cannot be done in the way Keats did. What is your view on the lyrical elements in contemporary poetry or the legitimacy of lyric poetry?
I hear you about being alienated. People ask how can one write about flowers when people are being killed. But language is something we share. It’s free. Poetry, at its heart, is an emotional sport. Rigor, discipline, intuition, feelings — they all help shape the poem and lead to solace, wisdom, and connection. I think poetry addresses a spiritual longing that most humans possess. And lyricism is a very powerful tool. To eschew lyricism in poetry would be like saying no melodies in music. And actually, for me, the lyricism offers direction — the alliteration or assonance or rhyme — suggesting the next word or line. Like “Malaise” calls out to “Malaysia.”
Andrei Codrescu is a real treasure. We’re so lucky to have him in New York now. Andrei is referring to a quote I used by Sextus Propertius. The quote opens the “Come Ons” section of Blue Lyre. He’s trying to get a girl. Written over two thousand years ago, the lines still ring true. Also, my friend Vincent Katz has translated his work and made it very accessible.
13. Besides writing poetry, what other literary or artistic endeavors have you engaged in?
I have kept journals and dream diaries. I’ve written four plays. I’ve written lots of poetry and art criticism. I’ve also written many introductions and blurbs. For many years I taught various subjects including poetry. I’ve run three different magazines. I published Hard Press which produced 80 postcards of others’ art and poetry. I’ve edited two anthologies.
I grew up at a time in America where there were many opportunities. I took music lessons and played in a school band. I learned how to play harmonica and guitar. I have an album of songs on Eat Records called Later Than You Think. The title is about the Climate Crisis. When the pandemic hit, I made a puppet show for my granddaughter. It’s called Pandemic Puppet Jam and it’s on Youtube with several other films I’ve made. A biographic film about me is on Vimeo. It’s called Cuckoo O’Clock.
And then there’s collage. When I was 27, I started doing collages as birthday cards and still do. Artist friends encouraged me and gave me materials. I stretched my repertoire to include drawing, stenciling, rubber stamps, antique paper and graffiti-like markings. I was involved with the Mail Art movement. I’ve been included in several art shows including one at the legendary Tribes Gallery in the East Village.
14. Is New York the core of American poetry? If so, please tell me about your relationship with the New York poetry community. If it is only one of the cores, what are the other cores, and are there any iconic figures you are familiar with?
Well, there’s certainly San Francisco and the Bay Area. Boston. New Orleans. But the scene in New York is so sprawling. You can go to art openings and mix with the artists and critics. You can go to readings practically every night. You can go uptown and hear professors and authors with books from big publishers and you can go downtown and hear counter culture poetry in clubs and bars. That overlap is amazing. And everyone wants to come here and read at some point so you can sample everything that’s out there.
15. You are also an active advocate of performance poetry Please share your thoughts on this.
Reading a poem to a devoted audience creates a communion in the room. Every one is “on the same page,” so to speak. All of that energy is concentrated on the poem and the meanings it generates. It’s very spiritual and life affirming. The sense of community keeps people alive. Really.
16. Which young poets are you paying attention to now, and why?
I like Sharon Mesmer, Ama Birch, Anton Yakovlev, Joanna Furhman, Ana Bosicevic, Adeena Karasick, Noelle Kocot, Brendan Lorber. They each have found compelling new ways to examine the self and its relationship to the system. I find a lot of inspiration in foreign poets too. I’m currently reading Jeanette Lozano Clarion, a Spanish poet, translated by Forrest Gander. She’s got the right amount of beautiful despair and triumph.
THE ROLE OF DIGITAL PLATFORMS IN LANGUAGE LEARNING
Author: Xolmurotova Gulzoda
Email: xolmurotovagulzoda176@gmail.com
ORCID: 0009-0005-3928-3348
University: National University of Uzbekistan
Field of study: Foreign Language and Literature (English)
Annotation: This article analyzes the role and importance of digital platforms in the language learning process. The main aim of the research is to identify the positive and negative effects of digital platforms on language learning. During the study, survey, analysis, and observation methods were used. The results show that digital platforms increase learners’ motivation, expand opportunities for independent learning, and play a significant role in developing language skills.
Abstract: This article examines the role and significance of digital platforms in the process of language learning. The primary objective of the study is to identify the positive and negative impacts of digital platforms on language acquisition. Survey, analysis, and observation methods were employed during the research. The findings indicate that digital platforms enhance learners’ motivation, broaden opportunities for self-directed learning, and play an important role in improving language skills.
Аннотация: В данной статье анализируется роль и значение цифровых платформ в процессе изучения языка. Основной целью исследования является выявление положительного и отрицательного влияния цифровых платформ на изучение языков. В ходе исследования были использованы методы анкетирования, анализа и наблюдения. Результаты показывают, что цифровые платформы повышают мотивацию обучающихся, расширяют возможности самостоятельного обучения и играют важную роль в развитии языковых навыков.
Keywords: digital platforms, language learning, online education, mobile applications, digital technologies, independent learning, educational effectiveness.
Introduction
This article highlights the advantages of digital platforms designed for language learning and their significance among young people. Over the past decade, digital technologies have become an integral part of our lives, creating numerous new opportunities. In particular, digital platforms are widely used to improve the quality of education and to facilitate the learning of foreign languages. Today, young people in Uzbekistan also actively benefit from these platforms. Applications such as Duolingo, Memrise, and HelloTalk are considered the most popular and widely used platforms. Currently, anyone interested in learning a language can use these platforms, as the lessons provided in these applications are designed in a simple and easy-to-understand manner.
Research Methodology
This study aims to examine the significance of digital platforms in the process of language learning, employing survey and observation methods. The research was conducted in 2025 at the National University of Uzbekistan. More than 150 students and members of the public participated in the study. The main objective of the research was to identify the positive impact and overall importance of digital platforms in language learning.
Within the framework of the study, a questionnaire was conducted based on the following questions: Which platforms do you use for language learning? Which applications are widely used today? According to the survey results, most participants responded positively to these questions; however, some respondents indicated a preference for traditional language courses over digital platforms. The findings demonstrate that digital platforms are an important tool in the language learning process.
Literature Review
In recent years, many scholars have conducted scientific research on this topic. For example, Chapelle emphasized in her research that language learning through digital platforms is both beneficial and effective. The author states that digital technologies serve as an important tool in developing language skills. Similarly, Godwin-Jones examined the language learning process through mobile applications and found that platforms such as Duolingo and Memrise help increase learners’ motivation. According to the study, these platforms provide learners with convenient and flexible learning opportunities.
In addition, Australian researcher Glenn Stockwell demonstrated in his studies that the use of online platforms provides a strong foundation for developing independent learning in language education. He also emphasized that online language learning contributes to the development of learners’ vocabulary and grammatical skills. The above studies indicate that digital platforms play a significant role in language learning.
Analysis and Results
More than 150 students and members of the public participated in the study. The research identified the role of digital platforms in the language learning process and determined which applications are most widely used. According to the survey results, Duolingo was identified as the most popular platform with the largest number of users. Specifically, 42% of respondents reported using this platform. Additionally, 18% of respondents selected the Memrise application.
At the same time, 20% of participants indicated that they still prefer traditional language courses, while the remaining respondents stated that they use blended learning methods. The results show that the importance of digital platforms in the language learning process is steadily increasing and that these platforms contribute significantly to the development of independent learning.
Discussion
This study clearly demonstrates the significance of digital platforms in the language learning process. The majority of respondents explained their preference for Duolingo and Memrise applications by their convenience, ease of use, and opportunities for independent learning. In particular, it was emphasized that Duolingo’s gamified exercises and its ability to consistently engage users help increase learners’ interest and motivation. Moreover, the fact that more than 130 million users currently use the Duolingo application highlights its popularity and effectiveness.
At the same time, some respondents expressed a preference for traditional language courses. This tendency can be explained by the importance of face-to-face interaction with teachers and receiving direct explanations for certain learners and students. The remaining participants preferred blended learning methods, stating that combining digital and traditional education accelerates the learning process. Overall, the findings indicate that digital platforms play an important role in increasing learners’ motivation and promoting independent learning.
Conclusion
The results of this study show that the role of digital tools in language learning is steadily increasing. The findings of the conducted survey also confirm this trend. It was found that regular use of digital platforms has a positive impact on the development of language skills. However, digital education should not completely replace traditional education; rather, it should be considered an effective supplementary tool. In conclusion, proper and purposeful use of digital platforms plays a significant role in improving the effectiveness of the language learning process.
References
1.Chapelle, C. A. (2001). Computer Applications in Second Language Acquisition. Cambridge University Press.
2.Godwin-Jones, R. (2009). Emerging technologies: Mobile apps for language learning. Language Learning & Technology, 15(2), 2–11.
3.Hubbard, P. (2009). Computer-assisted language learning: Critical concepts in linguistics. Language Teaching, 42(3), 291–310.
4.Kukulska-Hulme, A., & Shield, L. (2008). An overview of mobile assisted language learning. ReCALL, 20(3), 271–289. https://doi.org/10.1017/S0958344008000335�
5.Stockwell, G. (2010). Using mobile phones for vocabulary activities: Examining the effect of platform. Language Learning & Technology, 14(2), 95–110.
6.Warschauer, M. (1996). Computer-assisted language learning: An introduction. In M. Warschauer (Ed.), Multimedia language teaching (pp. 3–20). Logos International.
Every historical period creates its own literary environment, aesthetic views, and standards. However, evaluating the literary process correctly understanding its essence rather than its surface requires profound thought, independent opinion, and a critical eye. One of the figures of such high intellect in the development of Uzbek literary criticism was Ozod Sharafiddinov. He was an intellectual who viewed literature not merely as a creative product, but as a force that educates the mindset of society.
In the eyes of Ozod Sharafiddinov, literature is not just a tool for aesthetic pleasure; it is an arena that shapes human spirituality and awakens social consciousness. For this reason, in evaluating a work of art, he paid special attention to internal content, ideological depth, and the author’s responsibility rather than external beauty. In his critical activities, the priority was not to belittle or deny the author, but to encourage them to think more deeply.
Although Ozod Sharafiddinov’s literary views were closely linked to his time, he never chose the path of conforming to the era. He sharply criticized artificiality, formality, and stereotyped thinking in the literary process. According to him, true literature is valuable not only for responding to the demands of the times but for its ability to reveal the internal world of a human being. Therefore, he saw the creator as a person responsible first before society, and even more so, before their own conscience.
Ozod Sharafiddinov considered criticism an essential tool for the development of literature. He understood criticism not as passing judgment, but as analysis and dialogue. In his articles, justice is clearly felt alongside sharpness, and objectivity alongside demandingness. It is this very aspect that made his school of criticism unique and enduring.
In today’s era of globalization and rapid information, Ozod Sharafiddinov’s views are crucial for the youth. He valued contemplation over haste and independent thought over imitation. His literary heritage teaches today’s students and young people to look at a work with a critical eye and to feel the responsibility behind every word.
In my opinion, Ozod Sharafiddinov was not a critic who evaluated literature from the outside, but a thinker who lived within it and felt its pain. He approached the literary process not as a spectator, but as an active participant. His ideas continue to serve as an important resource in shaping the literary thinking of young creators and students today.
In conclusion, in the eyes of Ozod Sharafiddinov, time is transient, while literature is an eternal phenomenon. He sought to change the mindset, not the era. Therefore, his literary views remain relevant today and are recognized as the solid foundation of Uzbek literary criticism.
By Nozima Gofurova
3rd-year student at the University of Journalism and Mass Communications of Uzbekistan, specializing in Travel Journalism.
This article analyzes the emergence of the digital economy, the importance of digital technologies in the global economy and social life, the development of digital platforms, as well as the advantages and disadvantages of the digital economy. Based on the analysis, several proposals have been developed to address existing problems.
Key words:
Global Internet Protokol (IP) trafigi, innovatsion platformalar, onlayn platformalar, raqamli iqtisodiyot, raqamli platformalar, raqamli transformatsiya, ‘‘Raqamli O‘zbekiston – 2030 ‘‘, robototexnika, sun’iy ong, super platformalar, tarmoq effekti, tranzaksion platformalar.
Аннотация.
В данной статье анализируется возникновение цифровой экономики, значение цифровых технологий в мировой экономике и обществе, развитие цифровых платформ, преимущества и недостатки цифровой экономики. На основе анализа разработаны некоторые предложения по устранению существующих проблем.
This article analyzes the emergence of the digital economy, the importance of digital technologies in the world economy and society, the development of digital platforms, the advantages and disadvantages of the digital economy. Based on the analysis, some proposals have been developed to eliminate existing problems.
Keywords:
Global Internet Protocol (IP) traffic, innovative platforms, online platforms, digital economy, digital platforms, digital transformation, ‘‘Digital Uzbekistan – 2030‘‘, robotics, artificial intelligence, super platforms, network effect, transactional platforms.
Introduction
The digital revolution has transformed our lives and societies to an unprecedented extent, creating significant opportunities in the economy while also giving rise to certain challenges. The development of the digital economy is one of the priority areas for leading countries such as the United States, the United Kingdom, Germany, and Japan. In recent years, a new wave of development in business and the social sphere has been driven by a new generation of digital technologies, including artificial intelligence, robotics, and wireless communication technologies.
New technologies can make a substantial contribution to the achievement of the Sustainable Development Goals; however, the expected positive outcomes may not always be fully realized. If we aim to harness the full social and economic potential of digital technologies, it is essential to urgently enhance cooperation among states in order to prevent unintended consequences. In our country as well, special attention has begun to be paid to the development of this sector. In his Address to the Oliy Majlis on December 28, 2018, the President of the Republic, Sh. Mirziyoyev, proposed the implementation of the “Digital Uzbekistan – 2030” program by 2030.
Analysis of the Relevant Literature
The concept of the digital economy was first introduced in the 1990s during the period of economic crisis in Japan by a Japanese professor. First of all, it should be noted that the digital economy consists of a chain of interrelated production and management processes, the integral element of which is the exchange of information carried out through inter-chain digital technologies (human-to-human, machine-to-machine, via cloud systems, and between data centers).
The main objectives of the digital economy program have been highlighted in the literature. The digital economy represents a form of economic activity in which data in digital form serve as the key factor in production and service delivery. By processing large volumes of information and analyzing the results of such processing, more efficient solutions are implemented in various areas, including production, service provision, technologies, devices, storage, and product delivery, compared to traditional systems.
In other words, the digital economy is an activity associated with the development of digital computer technologies, encompassing online service provision, electronic payments, e-commerce, crowdfunding, and other related fields. In our view, the digital economy is an economic activity carried out and managed through digital technologies under conditions of scarce economic resources. The main challenge facing any economic system is resource scarcity, and in the digital economy, primary attention should also be directed toward addressing this issue.
Research Methodology
In the article, comparative–evolutionary analysis is used to study the role of digital platforms in the global economy. Statistical and mathematical methods are applied to analyze the market capitalization of companies occupying higher and lower positions, as well as the development trends of transnational companies based on digital platforms. Statistical grouping and comparison methods are used to assess Internet coverage across regions. In addition, the level of Internet traffic usage in the development of the digital economy is explained on the basis of dynamic analysis.
Analysis and Results
The following advantages of the digital economy are identified; it is estimated that labor productivity may increase by up to 40%:
the digital economy has the capacity to collect, use, and analyze a very large amount of information (digital data);
• the emergence of new forms of employment delivered through online platforms;
the emergence of new forms of employment delivered through online platforms;
changes in the commercial infrastructure for specialized services as a result of digital transformation.
changes in the commercial infrastructure for specialized services as a result of digital transformation.
The export of industrial products is increasingly dependent on ICT products and services;
New technologies, especially artificial intelligence, will inevitably bring significant changes to the labor market, including the disappearance of jobs in certain sectors and the creation of large-scale opportunities in others;
The digital economy also introduces new risks, ranging from cybersecurity breaches to facilitating illegal economic activities and threats to personal privacy. It continues to develop rapidly based on the capacity to collect, utilize, and analyze massive amounts of machine-readable data (digital data) covering almost everything. For example, global Internet Protocol (IP) traffic, as a proxy for data flow, increased from 100 gigabytes (GB) per day in 1992 to 45,000 GB per second in 2017, marking only the early days of a data-driven global economy. By 2022, global IP traffic is projected to reach 150,700 GB per second.
Cost is formed when the provided data is converted into digital intelligence and monetized for commercial use. Digital platforms provide mechanisms for multiple parties to interact and collaborate online. There are transactional and innovation platforms. Transactional platforms are multi-sided markets that support exchanges between different parties through online infrastructure. These are operated by major digital corporations such as Amazon, Alibaba, Facebook, and eBay.
Moreover, digital network-supported platforms, such as Uber, Didi Chuxing, or Airbnb, have become the primary business model for those who adopt them. Innovation platforms, such as operating systems (e.g., Android or Linux) or technology standards, provide an environment for developing applications and software packages, as well as producing code and content.
Over the past decade, numerous digital platforms based on data-driven business models have emerged worldwide, replacing existing industrial sectors. The advantage of these platforms is evident: seven out of the eight leading global companies by market capitalization rely on platform-based business models.
The economic geography of the digital economy does not reflect the traditional North–South divide. It is largely driven by developed and consistently advancing countries, primarily the United States and China. For example, these two countries account for 75% of all patents related to blockchain technologies, 50% of global expenditures on the Internet of Things (IoT), and over 75% of the global market for widely used cloud technologies. Remarkably, they also represent 90% of the market capitalization of the world’s 70 largest digital platforms. Europe’s share is only 4%, while Africa and Latin America account for just 1%.
These are “super platforms” – Microsoft, followed by Apple, Amazon, Google, Facebook, Tencent, and Alibaba – which together constitute two-thirds of the total market value. Consequently, in many areas of digital technological development, the rest of the world, especially Africa and Latin America, lags significantly behind the United States and China. Some of the existing trade frictions reflect the pursuit of global dominance in the latest technologies.
The value of the digital economy, as well as the creation and capture of related value, faces several challenges. First, there is no universally accepted definition of the digital economy.
In the ICT sector, computer services constitute the largest component, accounting for 40% of added value. Secondly, in developing countries, reliable statistics on the main components and scale of this sector are lacking. Although several initiatives have been undertaken to improve the situation, they are insufficient and hinder the rapid development of the digital economy.
The size of the digital economy varies between 4.5% and 15.5% of global GDP. Regarding the added value in information and communication technologies (ICT), the United States and China together account for nearly 40% of global GDP. The share of this sector in GDP is highest in Taiwan (China), Ireland, and Malaysia.
The United States dominates the global computer services industry; its share of industrial added value in this sector exceeds the combined share of the nine largest economies. Among developing countries, India has the largest share in this regard.
Digital platforms are becoming increasingly significant in the global economy. The total value of platform companies with a market capitalization exceeding USD 100 million was estimated at over USD 7 trillion in 2017, a 67% increase compared to 2015. Some global digital platforms have achieved very strong market positions in specific sectors.
Facebook accounts for two-thirds of the global social media market and is considered the leading social media platform in over 90% of the world economy. Amazon holds approximately 40% of global online retail activity, and its Amazon Web Services (AWS) also captures a similar share of the global cloud infrastructure services market. In China, WeChat (owned by Tencent) has over one billion active users, and together with Alipay (Alibaba), its payment solution has nearly dominated the entire Chinese mobile payment market. Additionally, Alibaba accounts for approximately 60% of China’s e-commerce market.
Alphabet (Google) and Microsoft have invested in telecommunications equipment by acquiring Motorola and Nokia, respectively. Large platforms have also made major acquisitions in retail, advertising, marketing, and commercial real estate sectors. The functioning of the digital economy depends on coordinated policies across many countries.
Data privacy and data security require particular attention. Laws and regulations are necessary to combat the theft of personal data, establish rules on how personal information is collected, used, transferred, or deleted, and ensure that business models based on the digital economy generate societal benefits. The European Union’s General Data Protection Regulation (GDPR), which came into effect in May 2018, represents a globally significant, comprehensive approach to data protection.
Digitalization affects different countries in varying ways, and individual governments require policy frameworks to regulate the digital economy in order to achieve the objectives of diverse national legal and policy agendas.
Conclusion and Recommendations
Digital transformation has become increasingly important today, particularly in the context of the ongoing pandemic. Recognizing the role of the digital economy in national economies and its significance for global economic development, it is advisable to implement the following measures:
Study and adopt more comprehensive support mechanisms from countries that are advancing in the digital economy;
Establish the regulatory and legal framework for the digital economy in our country;
Develop the necessary infrastructure for the digital economy, prioritizing the connection of regions with limited or no Internet access;
Improve the system for training specialists and professionals required for the digital economy;
Promote joint research initiatives among governments, civil society, academia, the scientific community, and the technology sector to identify innovative solutions;
Ensure the rational use of new technologies to redefine digital development strategies, anticipate future trends in globalization, strengthen partnerships, and enhance intellectual leadership.
References
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2. World Trade Organization. (2019). World Trade Statistical Review 2019.
3. Kurpayanidi, K., & Ilyosov, A. (2020). Problems of the use of digital technologies in industry in the context of increasing the export potential of the country. ISJI Theoretical & Applied Science, 113–117.
4. Abdullayev, A. M., & Kurpayanidi, K. I. (2020). Analysis of industrial enterprise management systems: Essence, methodology, and problems. Journal of Critical Reviews.
5. UNCTAD. (2020). Digital 2019: Global digital overview. Value creation and capture: Implications for developing countries. United Nations Conference on Trade and Development.
Fotima Turdimurodova is a student at Bukhara Innovations University. Her main academic interests include economics, particularly digital economy and market economy. In her article titled “Market Economy in the Digital Economy,” the author comprehensively examines current issues and existing challenges in the field. She is currently engaged in scientific research in the field of economics.
