Behind the curtains Ayyiri was a sound of the drum of joy, but it is not same as the sound of mosquitoes wings moving around in the dark? Was it not same as the wails of the sirens from a far?
Was it not……. Was it not?. I regret the very first day i heard it, you’re his they said. I was overjoyed not knowing i was tied Not with those three strong ropes but with pain, They said ” marriage is form of worship” but didn’t told me i was going to the sanctuary, I didn’t know i was going back in time to the time of my forefathers that lived in slavery. Resistance in that place is seen as rebellion not as a form of bravery. ”You are now not only bonded by love, but patience and perseverance.
Love was for courtship ” my mother whispered to my ears, It made me wonder how love will end before it even starts? But it was the very last i shine this my 32 to the rising sun and the falling moon. The hands that i think would hold and caresses now grasp my neck and confines me The voice that was one my favourite now screams and defines, send shivers of fear to my spine He was the apple of these eyes that once shone with light, now dim with tears like he was a third layer of an onion. A heart that once beat with love now is suffering from tachycardia. I complained and they said ”a woman pride is in her husband’s house”
But where’s the pride when it was no longer her husband’s house but a dungeon in the early European empire As if living with a monster was better than a homeless shelter. As if the bruises he left on me didn’t go deeper than skin. How could you tell me ” the patient dog eat the fattest bone” when the water has dried and the stone either burst or burn and emit heat rays that send water raining down my cheeks? I was taught in geography class about earthquakes and erosion, but not heartquake and bloody eruption in the lumen of my Aorta?
Tell me my people how could you tell me ” stay for your children if you leave where do you want them to go” when i was dying every single day, that you are seeing me not seeing me. You said i should endure it but won’t want to walk with me even for a second when i embark on endurance trek? You said i can change him to be the man i want but this is a pendulum bulb A cycle that repeats like TCA cycle, a vicious spin like a wheel of fate yana gararamba a kan titi. It is a dance of dominance, that he enjoyed as if he’s at Davido’s show in O2 arena, it is like an athletic game–an olympic that has a medal to win I thought love should uplift, not tear apart.
I said I’m not staying you started calling me names, yes you belong to the same specie of monster. I left you said i wasn’t religious as if it wasn’t the religion that says ” a finger shouldn’t be lift on a woman to beat her”. It is not the religion that gave me freedom? Haaa? Abi i no read it well ne? Then you said i should remember culture, the one that said i wasn’t entitled to leave even when i was going through hell? The one that said man should carry his wrong doings like grace? Or the one that says woman was born to be caged? Who made the culture then?
You see these words ehn? They were not just arranged in lines But it carries the weight of a thousand cuts The silence screaming in my chest, i swallow my heart in my guts It carries the story of every woman shut down behind the curtains of GBV. A story of hearts that lives but still yearns for life…………. Deejasmah
Khadija Ismail is a student of Medical lab science, a Hausa novelist, writer, poet, essayist and content writer. Her works centres on society and romance, she uses words to address issues like GBV, Mental and public health. She is the writer of Nisfu Deeniy and Wani rabo. Her work will be published in Yanar gizo anthology.You can connect with her on Facebook as Khadija Bint Ismail and Deejasmah writer on Instagram and Tiktok.
Pouring the Isle of “You smile all the time” in Titanic Chugged Cruiser: ‘The Way We Were’—-A Decanter of Obituaryfest Through Filmic Literature
Z I Mahmud, Alma Mater, English Department, University of Delhi, India
Silver screen mountain lion of Utah—Robert Redford and lioness glamour girl—Barbra Streisand manifest character arcs within claustrophobic debonair … As Rooseveltian romantic lovers, the chameleon couple is exposed to being infested and pestered through an ensemble of aural-visual on-screen framework enculturated within psychodrama ; thus marooned within the shipwreck of unamnesiac anathema. Sydney Pollack embodies francophone aboriginality and diasporic expatriate postnationalist postcoloniality Bunyanesquing— [Bunyanesquing is a neologism, insomuch and inasmuch of psychologizing and sexualizing filmic repertoire and that is this line of argument can be phrased as projections of extended personalities from curatorial directorship perspectivity] a laurel wreathed in romantic tenor filmic production. Erens, Patricia, and Sydney Pollack. “SYDNEY POLLACK: THE WAY WEARE.” Film Comment 11, no. 5 (1975): 24–29.
Katie Morosky puts forth the rhetoric of Rooseveltistic welfarism and unionization —raking over the coals anti-Cold War tensions and anti-McCarthyism in controversial conversation with fellow travelers and socialist compatriots of the motion picture industry. Without cineversing hat on a hat, Barbra Streisand roasts arguments to watch their melting faces drip off their worthless faces as explained in the article by Matelski, Marilyn J. “‘The Way We Were. . .’ and Wish We Weren’t: A Hollywood Memoir of Blacklisting in America.” Studies in Popular Culture 24, no. 2 (2001): 79–98. Herein the interpolation of Rooseveltistic sympathizer cast Streisand in highlights of liberalistic Americanism.
Her husband is dead! Dead!!! Yes, Mrs. Roosevelt went down into the mines. And when they asked her why, she said, “I am my husband’s legs.” Did you tell the crippled jokes, too? Is there anything that isn’t a joke to you people?”
Hubbell and Morosky star studded casts pacifist egalitarianism transition toward flashforwards of retrospective grain of salt : ‘but making a blessed buck’ and ‘PEOPLE—are more important than any goddamn witch-hunt’.
Crystalline Jewishness of Katie Morosky [Barbra Streisand] surmountingly triumphs with conquest of a bagel of appreciation. Because of her creditworthy work ethics, passion, intelligence and marvel —- heartmelting observance of Jewish American lady persona in Hubbell Gardner [Robert Redford] backstage is fruitified in PICKETTE, SAMANTHA. “‘When You’re a Funny Girl’: Confirming and Complicating Accepted Cultural Images of Jewish Femininity in the Films of Barbra Streisand.” In Jews and Gender, edited by Leonard J. Greenspoon, 245–70. Purdue University Press, 2021. Both masculinization and feminization are characteristic traits of wave of womanist revolutionary blueprint of Jewishness and Samantha Pickette situates Streisand framework consolidating ‘feminine’ and ‘masculine’ to undermine ideals of a hierarchical society governed by hegemonic gendered expectations.
However, commie to saddie stock caricature imperils this governance of femininity. For the sake of argumentative emphasis, castration threat faced by the heroine is an unheimlich torrent in the vein of imaginary eugenics agrophobia—- superimposed upon the hero’s egomaniacal masculinity and psychic virility. ‘You and me. Not causes. Not principles’—-depoliticizes her political partisanship and disenfranchises female empowerment. After all, undertones and undercurrents of power struggles derelict the relationship between the couple with Katie’s clash of counterback, “Hubbell, people are their principles.” For Hubbell Katie’s reformer sage-like personality for thriving and striving the way of the world is a utopian idealism. Despite platonic romance Hubbell-Katie is a doomed pair—- stranded in dysfunctional marriage—– recoils into a shuddered wedding. If Katie doesn’t sell her soul for the sake of the American dream as extrapolated from the literary critic Letty Cottin Pogrebin’s point of view, then I wish to argue what Samantha Pickette’s illustrative scholarship eschews. Hubbell Americanizes Judaism to the hinges and fringes of Christianity for the sake of the American Dream by permutation of plot twist and storyline. The transposition of a divorce petition springs forth within the cellar of the fourth wall.
Wasn’t Samantha Pickette walking on egg shells with confession in the performative gender of bolstering feminine body polity that after all she shrugs off her standpoint in the teleological ontology tracing Barbra Streisand’s happy endings— as transgressive nature of feisty womanist Jewishness betide through poetic justice in the consequential aftermath of breaking off ritualization of interreligious institution.
Later the erudite scholarly critic nails the coffin in Katie Morosky’s everywoman struggles for restoration of family building by sheltering in the refuge of lyrical poetic fairy tale tradition of angel of the hearth. Dissolution of marriage coincided since salt of the earth Hubbell wanted care-free reliable family reconciliation within screen writing career; however Hubbell’s angel of the hearth was always waiting for the next shoe to drop in this mores of the nuclear disarmament campaign. In a nutshell, nostalgic glorification behind succumbment of the rack and ruin pair is likewise opening a can of worms amongst star-crossed and unrequited lovers.
The Way We Were transcendentally nostalgizes as symbolic epitome —in the heartfelt memoiristic reminiscences of Barbra Streisand for being cultural lightning in a bottled remembrance—memorial services of star-studded goodbye Hollywood has seen in decades. We are talking about a man who didn’t just act. He discovered talents. He nurtured careers. He changed the entire landscape of independent filmmaking. After all, as much as you can and as long as you can, philosophy floods with the memorabilia chemistry of this on-screen couple—outlasting impressions of idolization of the entertainment industry alongside film studies and film criticism. ‘The double helix of the star wattage heyday lionizes tussled blonde locks, granite jaw and million dollar smiles’ as star cast reviewed by Robert Redford’s Funeral, Barbara Streisand’s TRIBUTE Is STUNNING!
Robert Redford elevated the powerhouse actress like Streisand through the enduring magical caprice of the popcorn classic The Way We Were. ‘That film, that performance, that chemistry between Redford and Streisand, it captured something eternal about love and loss, and the way time changes everything … As Barbra Streisand takes her leather gloved hand and pushes her summer boy Sandie blonde hair from Robert Redford’s forehead and he clasps her wrist gently pulling her into a final embrace. An inevitable farewell, the audience sobbed.’
Redford resurrects in her epitaphic memorial as the times she remembered the fun they had commenting upon the Oprah Winfrey interviewing him, “I remember liking her energy and her spirit. It was wonderful to play off of. I also really enjoyed kidding her. She was fun to kid.”
From touching every corner of the entertainment industry, the actors he worked with, the directors he discovered and causes he championed…devotion to conservation, life, vision and lasting contribution to Utah…feelings he inspired, dreams he encourages, independent voices he amplified through Sundance, lives he touched, careers he launched, the storytelling craft…loyalty, trustworthiness, principles, looks, commitment to excellence… and so on and so forth. Streisand’s onscreen heroization of Redford shall outlive real marriages through the relationship strands between Katie-Hubbell pair—-beauty with substance and stardom with purpose helming the filmworld—-recognizing his worth, celebrating his talent, maintaining the everlasting bond throughout decades.
Photography Acknowledgement THE WAY WE WERE Starring Barbra Streisand & Robert Redford. October 16, 1973. Picture, taken on set during the filming in 1972. Eoghan. Barbra Streisand Fan’s World Page Robert Redford and Barbra Streisand, who starred together in 1973’s ‘The Way We Were’.
💜Smooth Radio Robert Redford In ‘The Way We Were’ Barbara Streisand and Robert Redford sit smiling looking forward in a scene from the film ‘The Way We Were’, 1973. (Photo by Columbia Pictures/Getty Images)
Streisand & Redford In ‘The Way We Were’ View of American actors Barbra Streisand and Robert Redford as they lie in bed in a scene from the film ‘The Way We Were’ (directed by Sydney Pollack), Los Angeles, California, 1972. (Photo by Steve Schapiro/Corbis via Getty Images)
Redford & Streisand In ‘The Way We Were’ View of American actors Robert Redford and Barbra Streisand as they face one another in a scene from the film ‘The Way We Were’ (directed by Sydney Pollack), Los Angeles, California, (Photo by Steve Schapiro/Corbis via Getty Images) 1972.
Z. I. Mahmud [email: zimahmud_anan@yahoo.com] is a Bangladeshi scholar, creative writer, and B.A. (Honours) alumnus in English from Satyawati College, University of Delhi. He has recently submitted an essay for the Keats Shelley Memorial Prize titled, The Utopian Enlightenment of Romantic Sublime Dissolves Into Dystopian Apocalypse Within Mary Shelley’s Last Man. His research and creative work explore literature’s intersections with history, imagination, and cultural reception. Mahmud’s abstract, Dungeon-Castle and Demonic Downfall: Traumatizing Horroresque Gothicization of the Medievalist Halloween, has been selected for panel presentation at the virtual conference Confound the Time: Reception in Medieval & Early Modern Studies, 24–25 January 2026.
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.
