while cruel regrets appear like species thought extinct
and wait as snipers for the next mass killing
in this permanent opium war.
EXTRADITION
These little white pills photoshop your mind,
taking you beyond facial recognition
to where anxiety is a distant tremor,
then just a dog stirring in its sleep
and into the fog and silence
of peaceful, invisible zodiacs
where you are the only citizen:
a limpet sheltering on a rock
a trilobite calmly cruising forever
a jellyfish drifting free
a dust mite in a desert.
CLICKBAIT
The most solid thing I remember
of that day is the gleam, the honest face
of life’s dwindling. I could not keep you,
but only suffer alongside for a while
and then confront the geography of pain,
lost as a lighthouse in the sun.
Maybe I am just inventing a dream
that only a digital clone could give,
but I hope you are still really somewhere
in perfect convergent evolution.
INTROVERSION
An endless silent ceremony
before the white ashes of vanity.
Living in a world of your own words
until everything is a mirror.
The cries of a fabulous creature
hovering pitilessly overhead.
Clinging on like weeds around barbed wire
or birds nesting among spikes and syringes.
Fearing an embassy from another planet
or looters profiting from disaster.
S.C. Flynn was born in a small town in Australia of Irish origin and now lives in Dublin. His collections are “The Colour of Extinction” (Renard Press, October 2024; Observer Poetry Book of the Month) and “An Ocean Called Hope” (Downingfield Press, May 2025).
La Belle et la Bête – Opera Parallèle (Photo: Stefan Cohen)
La Belle et la Bête
Opera Parallèle
Zellerbach Hall
Berkeley, California
Beast Against Beauty
A review by Christopher Bernard
Over a recent weekend in March, Cal Performances hosted an original production by the local company Opera Parallèle, combining movie and stage, of Philip Glass’s uniquely beautiful conversion of Jean Cocteau’s classic film La Belle et la Bête into a cinematic opera.
The original “Beauty and the Beast” was written by the eighteenth-century French novelist Gabrielle-Suzanne Barbot de Villeneuve and appeared in her book La Jeune Américaine, et les Contes marins. The story, set in a romanticized High Renaissance France of François Premier and Diane de Poitiers, was later revised and abridged by Jeanne-Marie Leprince de Beaumont in the version best known down the generations. The story’s magnetic appeal has never weakened; in the age of toxic masculinity, it has never been, in some ways, more timely.
To say nothing of the aggression inherent in all masculine sexuality: Has there ever been a sensitive young man in love with a beautiful woman who did not, at some time, darkly suspect that, in reality, he was ugly, disgusting, unworthy of either loving or being loved—a beast indeed? Has there ever been a woman who wasn’t afraid at some point of bringing out the beast in the man who claimed he loved her? And, the claims in the fairy tale notwithstanding, how often has it occurred, not that the beast turned into Prince Charming, but that Prince Charming turned into the Beast?
Cocteau’s film, a masterpiece of French surrealism from the middle of the last century, contains some of cinema’s most famous sequences: the line of chandeliers held by disembodied arms protruding from a corridor’s halls, the moving eyes in the faces carved into a mantel above a blazing chimney fire, a pearl necklace turning into a writhing snake in the hands of a wicked sister, the dissolves from beast to human and from human to beast, and Belle’s gliding down a night-time hallway with windblown curtains without apparently stirring a foot, to name only a few.
The original script, itself rich with poetry yet containing enough realism to empower the magic, and Georges Auric’s film score work with these magical images to create a world of consummate fantasy speaking the curious truths poetry is uniquely capable of expressing. Philip Glass’s decision, half a century after the film’s release, to strip out and replace not only the soundtrack and sound design but all the dialogue as well into an immense musical fabric proved to be, not only as provocative as any surrealist gesture, but brilliantly successful and entirely aligned with the soul of the work. Unlike the notorious mustache on the Mona Lisa, Glass’s gambit enhances and even completes the work in a way one can only feel the original artists (with, of course, the possible exception of the silenced M. Auric) would have completely approved. It doesn’t displace the original but provides a perfectly viable alternative.
When I heard about Opera Parallèle’s production, I imagined one of three possibilities: a straight screening of a silent version of the film, with sound provided by live singers and instrumentalists, much like what I was lucky to experience on my first exposure to Glass’s setting. Or it might be an entirely live staging, with a few discreet bows to the film. Or it might be the most interesting but most perilous of the three: a fusion of the film with live action. But if they tried the latter, how would they solve the problem at the heart of any such attempt: how integrate the two without their blundering regularly and clumsily into each other? Because if staging and film weren’t merged into a seamless whole, it could be, indeed would be fatal: the genius of the film would require equal genius, above all in judgment, taste, and tact, in the staging, otherwise it would be in danger of overbalancing, then irretrievably sinking, the performance.
If this third choice were attempted, surely (I thought) the director would realize that film and staging would need to alternate; presenting them both at the same time would have to be generally avoided, for obvious reasons: the audience would not know which one to watch, the staging or the screen (or if two screens were used, which screen?). Staging theater is not like staging a dance or a concert, where multiple strands of movement or sound can be processed by the human mind without what is aptly called brain freeze.
One of the main problems was that some in the audience might resent any attempt to deflect their attention from the brilliance of Cocteau’s film. Concentrating the audience’s focus is, of course, one of any stage director’s primary responsibilities; diffusing attention must be avoided except for brief periods and for reasons that are perfectly clear to the audience as well as emotionally telling, whether dramatic or comic. And deliberately dividing their attention can court disaster.
Alas, this production did not solve the problem described, mostly because it did not seem to realize there was a problem to solve in the first place. The film and the staging stubbornly refused to combine; at times, they even stood in hostile and irreconcilable opposition: the concept for the piece was often at war with the piece’s aesthetic, with frustrating consequences.
Almost all of Cocteau’s film was screened on a darkened wall placed mid-stage as part of the handsomely designed and lit set (kudos to the unnamed set designer). At apparently random moments, live singers, in full costume, walked onstage and, distractingly, more or less imitated what appeared on film. In a few instances the film was paused and the action of the story was given entirely by live singers on stage. These few scenes were the most effective in the performance; effective enough for one to wish there had been more.
To add to the problem of divided attention, there were also a (gratefully) few attempts to screen a second film, which again imitated the action in the Cocteau. The concluding scene of the production abandons Cocteau’s film entirely, replacing it with a shot-by-shot imitation of the film’s famous concluding sequence, this time of the singers we had seen live onstage. If this was meant to bring all of the elements of the performance together in a transcendent conclusion, it was only partly successful.
It is always dangerous to fiddle with a masterpiece once; to fiddle with it twice can be fatal.
Fortunately, the musical elements of the evening came off, for the most part, very well: Hadleigh Adams was in excellent form in multiple roles, including the Beast, as was Chen Kang as Belle. Sophie Delphis did fine double duty as both of the evil sisters, and Aurelien Mangwa was strong-voiced in three well-differentiated roles. Nicole Paiement conducted the small but powerful ensemble, perhaps pressing too hard at times on the volume. The wonderful costumes were designed by Natalie Barshow, and not to be forgotten, given the opulence of the era in which the story takes place, were the hair and makeup designs by Y. Sharon Peng.
_____
Christopher Bernard is an award-winning novelist and poet. His most recent book is the poetry collection The Beauty of Matter.
Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.
In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!
So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.
Our Urban Reads bookstore in Baltimore
Our next issue, Mid-March 2026, will come out Sunday March 22nd.
Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!
Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.
Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.
Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.
Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud.Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”
Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.
Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.
Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.
Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.
Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.
Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.
Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.
Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.
Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.
The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.
Brian Barbeito sends up a preview of his book Of Love and Mourning,highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.
Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.
Image c/o Jacques Fleury
Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”
Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.
Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.
Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.
Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.
Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.
The couple sat upon a green-painted bench in the park. In the distance, a dog barked and children squealed with glee. Motes of dust danced in the sunlight which bled through the clouds.
“Libby,” he asked, “do you even want my love?”
“It’s not a matter of what I want,” she said. “You either love me or you don’t.” He maintained his silence. “So you…don’t love me now? We’ve been lovers for more than a year now,” she pointed out.
“It’s not as simple as that,” Matt said. “I do love you already, Libby, but I’m on the edge of falling inlove with you. But, if I see there’s no hope, no room for me in your life, and no real future for us, then I’ll hold back.”
“So,” she mused thoughtfully, “it’s up to me whether you fall in love or not?”
“Libby, I want to, but…”
“But?” she prompted.
“I don’t want to set myself up to fail. I’ve been married twice before,” he reminded her.
“What assurances do you need, or expect, from me?” she asked. “If you’re asking me, do I have a permanent place for you in my life, I do. But, Matt, we might fail no matter what; there are no guarantees. It’s all a chance, a mystery….that they call love.”
“I’ll take the chance,” he said meaningfully, closing the distance between them and running his fingers deeply through the auburn tresses spilling down Libby’s shoulders and back. She moaned softly and fell into a warm embrace with Matt.
After they loosened their embrace, Libby asked “As a practical matter, would this require me to give up sex with my husband?”
“No,” Matt assured her, I don’t think that would be fair to you. I know I’m not great in bed,” he acknowledged, “and according to your all-too-vivid descriptions, I could never match what he does for and to you. Was he ever some kind of acrobat or contortionist?” he asked.
“He spent a couple of years with a circus, in fact,” she admitted.
“Does he know about me, Libby?”
She frowned. “Of course! What kind of woman do you think I am?” she asked. “I wouldn’t cheat on Jack without telling him. He’s cool as long as I don’t talk about leaving him. He has a couple of side pieces on a string too. He says, if I have time on my hands, it’s OK if you fill out my dance card.” She hesitated a beat. “As long as you’ve had all your shots.”
They both laughed.
Matt nodded. “Speaking of which, I do love going dancing with you. Just thinking about holding you close…”
“Then let’s have some more of that,” murmured Libby. “No need to talk. My husband is great at the big event, so to speak, but not much for petting and intimacy. Do you mind putting one hand here and rubbing a little? Use the fingers on your right hand. That’s right. Mmmmm.”
“If you like that, Libby, you could return the favor, by…ooh, good, I don’t need to explain, do I?”
Several minutes later they pulled apart. Libby said, “You know, what we’ve got now seems like the best of both worlds. I get two guys to satisfy me in two different ways, and you can’t afford another wife after two divorces.”
At Matt’s wistful look, Libby asked, “What is it?”
“I envy Matt getting to spend every night with you,” he said. “Lying in your arms is what I live for.”
“Then I’ve got some good news,” she said brightly. “Jack works the midnight shift every third week, so you can come over at, say, 10:30 on nights when he works. Work for you?” Libby asked.
“It does,” agreed Matt. “Baby, things couldn’t get any better!”
“Then how about this,” said Libby. “You could move in.”
“With you two?” asked Matt. “How would that work?”
“Well, you could move into the vacant apartment over the garage. Jack has been wanting to rent it out to get us some extra money.”
“When can I move in?” asked Matt eagerly. “But, wait,” he said. “Don’t you need to talk it over with Jack first?”
“No need,” replied Libby. “Maddie, one of Jack’s girlfriends, is already set to move in. Now you two could share the expenses, and the bed, when we’re not…you know. That way, you won’t get lonely when Jack is at home.”
“What’s this Maddie like?” asked Matt.
Libby shrugged. “I dunno. Tall, skinny, blonde, some kind of athlete at college, a distance runner or something? I’ve just seen her twice. What do you think, Matt?”
METHODOLOGY FOR WORKING WITH PRESCHOOL CHILDREN WITH AUTISM SPECTRUM DISORDER
Gulistan State Pedagogical Institute
Faculty of Pedagogy
Preschool Education Department
Student of Group 3-25: Burhonova Lobar
Scientific Supervisor: Berdiyeva Muborak
Tel: +998993744107
Abstract
This article presents a methodology for working with preschool children diagnosed with Autism Spectrum Disorder (ASD) based on the IMRAD structure. The Introduction highlights the increasing prevalence of ASD and the importance of early pedagogical intervention. The Methods section describes observation, diagnostic assessment, individualized development programs, the use of Applied Behavior Analysis (ABA), visual supports, structured teaching, and play therapy.
The Results demonstrate that systematic and individualized interventions significantly improve children’s communication, social interaction, and behavioral skills. The Discussion emphasizes the importance of parental involvement and the creation of an inclusive educational environment.
The findings of this study can be effectively applied in preschool educational practice.
Keywords: Autism Spectrum Disorder, preschool education, early intervention, ABA therapy, inclusive education, individualized approach, play therapy.
INTRODUCTION
In recent years, the number of children diagnosed with Autism Spectrum Disorder (ASD) has been steadily increasing worldwide. According to the World Health Organization, at least one in every 100 children is affected by autism. This growing prevalence highlights the urgent need to improve specialized pedagogical approaches, particularly in preschool education.
Preschool age is a critical period in a child’s psychological, speech, emotional, and social development. Early pedagogical and psychological intervention during this stage plays a decisive role in determining the effectiveness of future education.
In Uzbekistan, supporting children with special educational needs has become a priority of state policy. Reforms initiated by Shavkat Mirziyoyev focus on social protection and the development of inclusive education, ensuring equal opportunities for all children. Every child has the right to quality education and full participation in society, which requires scientifically grounded methodologies for working with children with ASD in preschool institutions.
Children with ASD often exhibit limited social interaction, repetitive behaviors, and delayed speech development. Therefore, it is essential to apply a комплекс of methods, including Applied Behavior Analysis (ABA), visual supports, structured teaching, play therapy, and sensory integration.
The relevance of this study lies in developing and implementing effective methodological approaches that enhance social adaptation, independence, and future educational success of preschool children with ASD. The study follows the IMRAD structure: Introduction, Methods, Results, and Discussion.
METHODS
This study focuses on improving methodologies for working with preschool children with ASD. Both theoretical and practical research methods were applied.
The theoretical stage involved analyzing scientific literature in special pedagogy, defectology, and inclusive education.
The practical stage included:
Observation
Interviews
Diagnostic assessment
Experimental pedagogical work
The study involved children aged 5–7 diagnosed with ASD. Individual development programs were designed for each participant.
The following methods were applied:
Applied Behavior Analysis (ABA) techniques
Visual supports and pictograms
Structured teaching
Play therapy
Speech development exercises
Sensory integration activities
Sessions were conducted 3–4 times per week in both individual and small group formats. Additionally, regular consultations were held with parents, providing guidance for home-based activities.
RESULTS
The experimental work showed that systematic and individualized intervention had a positive impact on children’s development.
The following improvements were observed:
Speech development: Increased vocabulary and ability to form simple sentences
Social interaction: More frequent engagement with peers
Behavioral changes: Reduction in repetitive behaviors
Attention skills: Improved concentration and task completion
These results confirm that early intervention and parental involvement significantly enhance developmental outcomes for children with ASD.
DISCUSSION
The findings indicate that individualized approaches, visual supports, and structured teaching methods are key factors in successful intervention. Furthermore, an inclusive educational environment plays a crucial role in children’s social adaptation.
State policy also contributes significantly to this process. As emphasized by Shavkat Mirziyoyev, every child must have access to quality education and opportunities for full participation in society.
Effective collaboration between educators and parents is essential for achieving sustainable developmental progress.
CONCLUSION
The study demonstrates that early diagnosis, individualized approaches, and systematic pedagogical intervention are crucial when working with preschool children with ASD.
Methods such as ABA, visual supports, structured teaching, and play therapy have proven effective in developing communication, social, and behavioral skills.
The IMRAD-based research confirms that individualized programs significantly improve children’s social adaptation and reduce stereotypical behaviors. Additionally, parental involvement and inclusive education environments are critical components of success.
In conclusion, improving methodologies for working with children with ASD requires:
Enhancing teacher qualifications
Developing modern methodological resources
Expanding inclusive education practices
Beyond methodology, the most important factor remains the educator’s patience, empathy, and individualized approach to each child. With proper support and collaboration between families and educational institutions, children with ASD can successfully integrate into society.
