CONTENT AND ESSENCE OF INTERNATIONAL ASSESSMENT PROGRAMS

Kattakurgan State Pedagogical Institute, Student
Qarshiboyeva Mavluda Azizbek qizi

Annotation: This article analyzes the purpose, structure, and impact of international assessment programs on the education system. It examines how countries shape their educational policies based on the implementation procedures and results of PISA, TIMSS, and PIRLS. The article highlights the importance of international assessment programs in improving the modern education system.

Keywords: international assessment programs, PISA, TIMSS, PIRLS, education quality, functional literacy.

Introduction. In the context of modern globalization, assessing and comparing the quality of education at the international level has become increasingly important. Every country strives to determine the effectiveness of its education system, eliminate weaknesses, and align with international standards by using various assessment programs. International assessment programs measure students’ knowledge, skills, and competencies based on objective criteria and provide opportunities for comparative analysis among countries. These programs allow policymakers, researchers, and teachers to understand the real state of the education process.

International assessment programs emerged in the late 20th century due to the need to standardize education quality globally. Organizations such as the Organisation for Economic Co-operation and Development (OECD) and the International Association for the Evaluation of Educational Achievement (IEA) developed scientifically grounded methodologies to measure educational outcomes. Today, world-renowned programs such as PISA, TIMSS, and PIRLS play a significant role in shaping educational policy and improving national competitiveness. These programs not only assess students’ performance but also provide tools to analyze various components of education systems. Uzbekistan has also actively participated in these assessments in recent years to improve its national education system.

Main Part. PISA (Programme for International Student Assessment), conducted every three years since 2000 by the OECD, assesses the functional knowledge of 15-year-old students in mathematics, reading, and science. Unlike traditional tests, PISA evaluates students’ ability to apply knowledge to real-life situations, requiring critical thinking, problem-solving, and analytical skills. More than 80 countries participate in PISA, making it one of the most extensive assessment programs in the world.

TIMSS (Trends in International Mathematics and Science Study), conducted every four years since 1995 by the IEA, assesses the mathematics and science knowledge of 4th- and 8th-grade students. The test is based on school curricula and measures students’ knowledge, application, and reasoning skills. TIMSS provides valuable information for improving education standards.

PIRLS (Progress in International Reading Literacy Study), launched in 2001 and conducted every five years by the IEA, assesses the reading literacy of 4th-grade students. It measures students’ ability to understand, interpret, and evaluate literary and informational texts.

Differences among PISA, TIMSS, and PIRLS show their unique focuses: PISA assesses functional literacy, TIMSS measures subject-based curriculum mastery, and PIRLS focuses on early reading skills. Despite differences, all three programs contribute significantly to evaluating and improving education quality.

Uzbekistan’s participation in PISA 2021 provided insights into the national education system and identified areas for improvement, particularly in functional literacy and problem-solving skills.

Research Methodology. The study employed comparative analysis, document review, and statistical analysis. Official reports from OECD, IEA, and UNESCO were used as primary sources. The structure, administration, and results of PISA, TIMSS, and PIRLS were compared, and the experiences of advanced countries such as Singapore, Finland, Japan, and South Korea were analyzed. Uzbekistan’s recent participation and results were also examined.

Analysis and Results. The evaluation of international assessment programs showed that although PISA, TIMSS, and PIRLS differ in their focus areas, their common goal is to assess education quality based on international standards. High-performing countries invest heavily in teacher training, modern teaching methods, and ensuring equity in education. For example, Singapore ranked first in PISA 2022 in mathematics, and TIMSS 2023 results confirmed the leadership of Singapore and South Korea in mathematics and science.

Conclusion and Recommendations. International assessment programs provide essential tools for comparing and improving education quality globally. Based on the study’s findings, the following recommendations are proposed for Uzbekistan:

1. Increase the share of practical tasks and real-life application materials in curricula to enhance functional literacy.
2. Expand teacher training programs aligned with international standards and modern teaching methods.
3. Establish a regular monitoring and evaluation system for learning outcomes.

Strengthening participation in international assessment programs and integrating global best practices into national conditions will support Uzbekistan’s efforts to modernize its education system and improve students’ competitiveness.

References:

1. OECD. PISA 2022 Results: What Students Know and Can Do. OECD Publishing, 2023.
2. IEA. TIMSS 2023 International Results in Mathematics and Science. IEA, 2024.
3. IEA. PIRLS 2021 International Results in Reading. Boston College, 2023.
4. Schleicher, A. World Class: How to Build a 21st-Century School System. OECD Publishing, 2018.
5. UNESCO. Global Education Monitoring Report 2023: Technology in Education. UNESCO, 2023.
6. Ministry of Education of Uzbekistan. National Education Development Strategy 2023–2027. Tashkent, 2023.

Lord Fredrick Lugard, the first colonial governor (1914-1918), amalgamated what was called the southern and northern protectorates to form the creation, the Flora Shaw’s named “Nigeria”, formerly the Royal Niger Company. The creation was valid for a hundred years (December 31 2014/January 1, 2015). Afterwards, the people who would be identified as Nigerians could decide to negotiate terms of their co-existence. 

The major founding fathers of Nigeria, according to history, in the likes of Dr. Nnamdi Azikiwe, Chief Obafemi Awolowo and Alhaji Tafawa Balewa and the rest were not adults at the time Nigeria was created. Dr Nnamdi Azikiwe was born in 1904. Chief Obafemi Awolowo was born in 1912 while Alhaji Tafawa Balewa was born 1910. Therefore, they had no business being the major founding fathers of Nigeria, contrary to the historical narrative. Of course, Nigeria was (and still is) a British creation. Interestingly, they did not express their belief in the efficacy of the geographically created entity. For instance, in 1948, Chief Obafemi Awolowo, asserted Nigeria as being not a country but a geographical location separated by artificial boundaries. In the same breath, Alhaji Tafawa Balewa stated that the people in Europe—Belgium, Holland, England—are similar in cultures than the Igbo, Hausa and Yoruba, which are the three major tribes. Dr. Nnamdi Azikiwe, in 1964, who was paraded as the “Zik of Africa” and proponent of “One Nigeria”, stressed the need for Nigerians, four years after independence, to separate or go in pieces!

The major tribes have been existing for thousands of years before Nigeria was birthed. The DNA-based anthropological tests attest to this. It is a thing of concern most Nigerians today do not really know what the identities of their parents and or grand parents were, before October 1, 1960—the day Nigeria became a sovereign entity. Living former leaders such as General Yakubu Gowon (Retired), Chief Olusegun Obasanjo and Alhaji Abdul Salam Abubakar were born before Nigeria’s day of Independence which clearly identifies them as  not “Nigerians”before independence. Who were they, then? That’s a question for another day!

From the inception of leadership of Dr. Nnamdi Azikiwe (with Alhaji Tafawa Balewa being Prime Minister) to the current admission of Senator Bola Ahmed Tinubu, the bones of contention depicted over the years have been reflected in terms of tribalism, religion and ethnicity, all pointing at one thing; Nigerians have not been ONE people. From the deficits of the first coup in 1966, the subsequent Nigeria-Biafra Civil War (1967-1970),  the incessant tribal clashes among the major tribes in the following years, the erupted religious crises of the 80s and 90s, even in the 2000s and documented ethnic conflicts to the aggravating economic hardships, particularly from the 90s till present, the marriage known as Nigeria was, for the sake of sanity, amongst the couple’s (the Yoruba, Igbo and Hausa tribes) long due for a divorce. Without a doubt, it has never worked out in the favour of the participating tribes—it is still not working! Yet, by some proxy-relates means, which apparently defeat the strength of comprehendible political, and socio-cultural rationale, Nigeria is still existing!

How can a people who are different in culture, economic and political dynamics be “forced” to co-exist forever? The friction had long been established since independence. The history-claimed founding fathers, representatives of their tribes, brings to attention their position on the British-created Nigeria. The realistic incompatibility among the tribes got worse in subsequent years. It is amazing how the  major tribes—knowing they are better existing independently—still officially co-existing as Nigerians.

What the Nigerian entity has created were generations of men and women who would develop disdain for each other and depict bad demeanors in dealing with themselves, having being fed by questionable and tweaked historical narratives and orchestrated happenings. Hence, ushering leaders who would emerge and govern the people based on how they reflect themselves. After all, a good leader is a  reflection of (gotten from) a good people and a bad leader is gotten from or shows how bad a people is.

The current president was quoted as saying “I don’t believe in One Nigeria” in 1997, in an interview granted to a newspaper daily. Like his predecessor, Chief Obafemi Awolowo, Nigerian sovereignty is a mirage. But for some political aggrandizement, he became sworn-in as the president of the Federal Republic of Nigeria on May 29, 2023!

The devalued Naira, the Nigerian currency, deserves attention. On  January 1, 1973, one  Naira was equivalent to one British Pound. At the time, the standard of living was said to be, compared to the presently harsh economy, high. General Yakubu Gowon (Retired), the then head of state, bragged  about Nigeria being so rich that its problem was how to spend money! The de-valuing of the Naira, resulting from frivolous spending by the previous administration, began.  The Shagari-led regime in the late 70s was tasked with the onus of devaluing the currency, before the overthrow by Retired Major Muhammadu Buhari, who would become head of state, then Retired General Ibrahim Babagida in 1985. The Naira’s  declining value was witnessed through the years. What was of a greater value than the US Dollar before 1985 is now no match to.the CFA (currency used by West African countries) and Ghanian Cedis. The Naira is presently so valueless and the cost of living is unimaginably high for an average Nigerian to afford. The current exchange rate of the US Dollar to the Naira is:

$1 is equivalent to 1610 Naira.

The high cost of living, partly resulting from the devalued Naira, projected to get worse in subsequent years, is sufficient to rationalize critically the Nigerian posterity, hundred years after its creation.

The cultural diversity, religious, socio-cultural and political differences have saliently ascertained the “oneness”, known as Nigeria, is a complete shadow of itself, when and if realistically evaluated. It becomes pertinent to recognize Nigeria’s existence, a century later, would better be history, or better yet, as the title, “There Was A Country” by the late novelist, Chinua Achebe, reads, than a living entity existing today. After a hundred years. Her existence points at this: “Divided we stand, United we fall!”

Ode to Eve

I still recall the last time I spoke to an alien, or perhaps merely imagined it to be so. It happened immediately after the first drops of blood—later known as menstruation—appeared. I curled up in a corner, watching the wall where it walked in transparent attire, playing cards next to a widow spider. I don’t know if it was truly a widow, but perhaps my mood at the time made me assume it.

From that moment, I imagined Eve dreaming of the respectable apple. Imagined her exhausted, suffering the cycle. Imagined her startled by the fact of her femaleness. I saw her in my mind attempting to flee the obsessive-compulsive disorder, the doubt, and the petty anxieties. Imagining herself pregnant, her belly immense, and her legs swollen from fluid retention. I pictured her with one eye open and one eye closed, like a resting wolf.
Then the alien suddenly stung me; I opened my eyes and found it wearing Adam’s mask, recounting the familiar story from the perspective of the victim who fell into the trap of temptation.

No Bigger Than a Chickpea

Do you remember?

When I knelt before you, crying?

When you smiled at me and explained

Why did a piece of my body have to be cut off?

Do you remember?

You said,

“You won’t feel a thing.

It’s no bigger than a chickpea.”

My mother was boiling mint leaves.

I swear I felt the pot weeping.

Every leaf of mint seemed to ache,

As if preparing for a funeral.

You wore a loose, colorful galabiya.

You were laughing,

Genuinely happy, waiting for the line of girls—

So you could circumcise them.

It was the first time I heard the word.

I thought it was something

Like trimming your nails.

And I thought

You were like the school nurse.

We were laughing so hard,

Chasing one another,

Waiting for our turn.

The mother of each girl

Whispered to her:

“Once they cut that piece from you,

You’ll be a good girl.”

Do you remember?

Do you remember how all the girls begged you

When you pulled out the blade?

We thought it was a joke.

We thought it was a game.

But we never knew

We were part of it.

What the Palm Reader Told Me

A palm reader tells me I’ll end up working as a clown.

She says it with a wide smile shaped like a swordfish.

“You’ll live until sixty,” she says.

“And on the day you retire, you’ll take off your shoes in the street and run in the opposite direction of the traffic light.

That’s when you’ll start speaking Chinese—

The language you always dreamed of learning one day.

You’ll say xiè xiè—thank you so very much—

To everyone you meet.

It won’t bother you that the street vendor replies,

‘You’re welcome, Grandma.’

You know he has no manners.

And even though you used to get upset every time he said it,

This time you’ll run—run fast—all the way to the end of the road,

Like a child, like a nightingale eager to sing,

Happy with her voice and showing off a little.

The city’s chaos won’t annoy you then.

Nor the pollution,

Nor the skyscrapers,

Nor the smell of antidepressants.

You won’t think about how many times your father kissed you on his deathbed,

When he closed your eyes with a smile

And you thought he was playing.

You’ll just keep running and running

Until you bump into the throne of the Divine.

And you’ll reach out your hand,

Take a violet rose from it,

Plant it in the hollow of your chest,

And begin again.

A Thumb-Sized Sinbad under My Armpit

Beneath my armpit lives a Sinbad the size of a thumb.

His imagination feeds through an umbilical cord tied to my womb.

Now and then, people hear him speaking through a giant microphone—

Singing,

Cracking jokes,

Laughing like mad,

And impersonating a lonely banana suddenly abandoned by its peel.

The men of our town have no idea I carry a Sinbad inside me.

They say, “A woman—formed from a crooked rib.”

They say, “A woman—waiting for Prince Charming.”

But Sinbad stirs within me like a fetus,

Restless, chasing after adventure.

My aunt pinches my knee

For slipping into daydreams.

The good girls say yes.

But what about no?

What about what Sinbad tells me every night?

No one knows.

No one cares.

.

Thus Spoke the Orange Tree

Yesterday I met an orange tree and asked it, “Tell me, how we fold Time?”

To be born now, a thousand years old. To know how to understand man, beast, bird, insect, flower, and machine. How to walk naked on my tiptoes in a wintry open space, without fearing the cold. To sing at the top of my lungs because (am still breathing)

Without fearing the sirens or the police.

Yesterday I met a pregnant orange tree and whispered in her acrobatic ear, “How do you become an orange tree, then give birth to a moon? How do the jokes melt in your mouth like water with honey? Did you fall for an angel? Or did you read a poem of light? Do you wear crystal balls like cosmic spectacles?”

Yesterday I shed my skin, bone, and flesh like a temporary coat I no longer needed. Yesterday I broke free of it. Broke free of me. And raced at full speed to catch a star that accidentally fell from a baby’s eye. I called out to myself with a thousand foreign tongues, and I prayed. And I sighed. And melted, once more, into the drink of Love.

First Class Donkey

Yesterday I sat next to a donkey
in first class.
His eyes were pearls,
his heart a green stone.
When I slipped my hand out
from under the seat belt
to hold him,
a piece of the full moon
fell into my lap.
I froze. The old stammer
from fifth grade came back.
My father’s voice in my ear:
You’re still shy? It’s a donkey.
But I wanted to hold him
even more.
His heart buzzed
like a bee—
maybe he could fly,
maybe speak,
like the ones in Orwell’s farm.
His eyes: a fountain of hope.
Could a gaze swallow me whole?
Could he pull me
toward him, inch by inch,
until my body vanishes—
no one finding me,
no one seeing me
except him?
And the flight attendant?
Would she report me missing?
Or swear I was never there?
The donkey holds a newspaper
with a hole in it.
I wonder:
old-fashioned donkey?
I lean closer, resisting the urge
to hug him.
His gentle eyes tempt me.
Closer—
I’m already there,
inside the hole,
second from the right
on the obituary page.
I’m there, dreaming.

LINGUISTIC FEATURES OF TOG‘AY MUROD’S WORKS

Qudratova Nozima Bahromovna

1st-year student, Department of Uzbek Language and Literature,

Denau Teacher Training Institute

Email: qudratovanozima@gmail.com

Annotation

This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.

Keywords: Tog‘ay Murod, literary analysis, linguistic features, narrative style, literary technique.

Introduction

Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.

Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.

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Linguistic Characteristics in Murod’s Works

Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.

A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.

One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style. Researcher M. Khidirova describes language as the foundation of literary structure, noting:

> “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.”

Thus, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.

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Theoretical Perspectives on Style

Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent

scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges:

> “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears.”

Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work:

> “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work.”

Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill.

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Tog‘ay Murod’s Creative Language

Tog‘ay Murod is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers.

In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression.

He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative. Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives:

> “I told the boys to lie down by the river and keep watch.”

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Discussion

The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers.

Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.

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Conclusion and Recommendations

In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression.

Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.

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References

1. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.

2. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.

3. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.

4. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.

5. O. Sharafiddinov. Iste’dod jilolari. Tashkent.

Qudratova Nozima Bahrom qizi. 2006.11.12.

Surxondaryo viloyati Shurchi tumani Oynako’l mahallasi Amir Temur ko’chasi 160 uy.

+998 90 071 06 11.

Denov Tadbirkorlik va pedagogika instituti 1 kurs talabasi. Filologiya fakulteti o’zbek tili va adabiyoti guruhi.

Meeting Myself

A door unknown

You are led inside

To where night has yet to fall

In There, you meet yourself

You tread along a steep, winding mountain path

No flowers in sight, nor does it lead to the other shore

With threads of thorns

Weave an indescribable language

November 30, 2025

The boy

the boy dies as if the AIDS of past happiness lives in his heart

the boy is silent until the screams on his nails turn into screams

the sky above the boy’s head bursts like a balloon

the sky falls on the heads as if the heads are still not cut down

the anus is like a water pipe: it will just flood everything around

life is like a plumbing pipe torn without an anal ring

the sky overhead repeats the weakness

the god above his head cannot explain the meaning of his presence

a sweater draped over the skin instead of a mole and a tattoo is torn

a man stands near the sign and does not know where to go next

where to? in basements where it’s easier to hide and fuck?

or move forward? or into the future that floats in its own absence

it starts to rain and the dogs get wet

I wash in the rain

I wash exclusively in the rain

I’m dying inside someone else with my name and body

I wash only in the death

I’m dying but I live

I’m rain with a soft torso

boy / me / or someone else

while around the zz skr sc cars ars

iron butterflies tear the stomach

the city tramples me with leaves

crunch outside or inside fills the air

all around say: quietly quietly

Sometimes the Clouds and Sometimes the Angels (prose poem and picture)

at moments though it was generally overcast, the light of the sun so determinately arrived that it felt like an angel or group of angels giving a sign and blessing. I had a spinning ring silver w/several saints and divine figures and I touched it. I remembered other moments similar such as when a praying mantis out of nowhere flew across and landed beside me, watching me. it was the wings of the creature that made it appear like a fairy or angel or whatever the case, something more metaphysical than of this world. and then as life goes in cities and in rural and pastoral settings w/many blessings, the clouds resumed and even some rain and anxious strange wind had their turn and show of ruefulness and moving melancholy. but one had to take all moods of the capricious earth and learn from them by observing and remembering. like a soul that would scry the sky or an old-time sagacious psychic who had gifts of the spirit. so, step and step and step again, by the field and under late autumnal tree canopy beige and yellow and brown then…yes step again, to become a nature poet.