Nazism and German Intellectuals

The Rise of Nazism and the Role of German Intellectuals

By Dilip Barad

Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

 Memorabilia 2025-26

The memorabilia 2025-26 was unveiled by the representatives of the alumni association of the Department of English, Dr. Devang Rangani and Dr. Vijay Mangukiya on 12 April 2026 in Annual Day / Alumni Meet event. The Memorabilia 2026 can be downloaded from this link - https://www.slideshare.net/slideshow/memorabilia-of-english-department-activities-2025-26-at-mkbu/286972559

• The Photo Album of the event - https://photos.app.goo.gl/tmWDzp8CKh3Nv1Ju8

• Video recording of the event - https://www.youtube.com/live/VnBLODPn1tM 

From the Desk of the Head of the Department . . . 

There are times in history when the ‘present’ refuses to remain merely a passing moment and instead begins to weigh heavily upon our consciousness. We are living in such a time. The world, as it unfolds before us through screens and headlines, appears to be slipping into unsettling patterns—of wars that redraw maps and memories, of narratives that blur the line between truth and propaganda, of identities hardened into rigid certainties. The growing insistence of majoritarian voices, often amplified through art, cinema, and popular media, demands not passive consumption but critical engagement.

In such times, memory is not merely a recollection of the past; it becomes an act of resistance. To remember rightly, to interpret responsibly, and to question courageously—these are not just academic exercises but ethical imperatives. This Memorabilia, like those of the previous years, is not a mere compilation of events. It is, in a sense, a curated memory—selective, shaped, and yet deeply meaningful. It preserves not only what we did, but also hints at how we thought, how we responded, and perhaps, how we resisted.

If earlier I have compared Memorabilia with Kundera’s mathematics of memory or Dumbledore’s Pensieve, this year it appears more like a palimpsest—where layers of experiences are written, erased, and rewritten, yet traces of each inscription remain. Beneath the visible text of activities, achievements, and celebrations, there lies an invisible text of anxieties, questions, and intellectual awakenings.

This academic year, however, was not only intellectually demanding but also physically and administratively exhaustive. The Department remained continuously engaged with the activities of the Cyber Club of MKBU, wherein awareness programmes and competitions such as Reel Making, Poster Making, and similar initiatives were organised to sensitise students about digital frauds, digital well-being, and cyber security. In an age where the digital is no longer optional but inevitable, such engagements were not merely co-curricular add-ons but essential extensions of our academic responsibility.

Alongside this, we successfully organised three major academic events—a week-long National Workshop on Academic Writing, a collaborative National Seminar on Science and Literature, and another National Seminar on Indian Knowledge Systems (IKS) and English Studies. Each of these events demanded meticulous planning, coordination, and execution. That they were accomplished successfully is a testimony not only to institutional commitment but, more importantly, to the tireless efforts of our students.

It must be acknowledged that without the active involvement of students—as volunteers, organisers, participants, and learners—such large-scale events would have remained merely on paper. Their willingness to take responsibilities, often beyond their comfort zones, reflects the true spirit of learning by doing. A special note of appreciation must be made for the ICT Committee, which bore a significant share of the burden in managing these events in hybrid mode. Live streaming, recording, troubleshooting technical glitches, and ensuring seamless coordination between physical and virtual spaces is no easy task. Their silent yet significant contribution ensured that the Department remained connected not only within but also beyond geographical boundaries.

It is precisely in such engagements that education transcends the classroom. The lessons learnt here—of teamwork, responsibility, problem-solving, and adaptability—are often more enduring than those learnt through prescribed texts. The Department of English, in its own ways, remains committed to student capacity building. We strive to provide an environment and resources that help students negotiate the madding pressures of contemporary academic life, while also attempting to eliminate the maddening distractions that hinder sustained attention and deep learning. It is only when one learns to balance these two—the noise that surrounds us and the noise within us—that meaningful education begins to take shape.

It is also here that the study of literature, especially of the 20th century, along with critical theories and cultural studies, acquires renewed urgency. When language is manipulated, literature teaches us to listen carefully. When narratives are weaponized, theory equips us to deconstruct them. When history is selectively remembered, the historical sense reminds us of continuity, context, and complexity. The classroom discussions on modernism, postmodernism, postcolonialism, and cultural studies are no longer confined to texts—they spill over into life itself.

One often hears that literature is ‘irrelevant’ in the face of real-world crises. I would argue quite the contrary. It is in such crises that literature becomes most relevant. It sharpens our sensibility, refines our judgement, and most importantly, nurtures a mind that refuses to succumb to simplifications. The educated mind, as I have often reiterated, is not the one that aligns comfortably with power, but the one that questions it—persistently, rationally, and ethically.

Looking at the activities of this academic year, one finds not just participation, but a certain seriousness of purpose. Whether it is in classroom presentations, research engagements, creative expressions, or co-curricular involvements, there is a visible attempt among students to move beyond the superficial. The efforts of various committees, the enthusiasm in organizing and participating in events, and the intellectual engagements reflected in writings compiled here, all point towards a Department that is alive, alert, and responsive.

And yet, as always, there remains a sense of incompleteness. There are always a few who could have participated more, engaged deeper, and challenged themselves further. This incompleteness is not a failure; it is a reminder—that education is an ongoing process, never fully achieved, always in the making.

Amidst all achievements and limitations, what remains most significant is the formation of a certain kind of mind—a mind that is restless, that is unwilling to accept easy answers, that seeks to understand before it chooses to believe. If even a handful of students carry this intellectual restlessness with them as they step out of the Department, the purpose of education, in some measure, stands fulfilled.

As we turn these pages of Memorabilia 2026, let us not merely ‘look back’ but also ‘look within’. For what we remember and how we remember will shape what we become. In many ways, like Nick Carraway in The Great Gatsby, we find ourselves “within and without”—simultaneously part of the lived experiences and yet reflective observers of them. It is in this delicate balance between participation and perception that true understanding emerges.

With a sense of continuity and cautious hope, I place this record of our shared academic journey before you.

~ Dilip Barad

Posthuman Turn in Digital Humanities

The Posthuman Turn in Digital Humanities: Rethinking Human Agency, Knowledge, and Culture 

The purpose of this blog is to share the core insights from my recent talk, The Posthuman Turn in Digital Humanities: Rethinking Human Agency, Knowledge, and Culture at Research Scholar's Meet 4.0 organized by Sardar Patel University, Vallabh Vidyanagar. In this presentation, we navigated through three major dimensions of our evolving existence, starting with the very toolsets that are reshaping our reality, moving into the mind's hidden frameworks, and culminating in the ultimate question of our future identity.

Navigating Human Agency in the Digital Labyrinth:

To understand our current era, I initially focused on the role of human agency within a digital culture that is now heavily intersected by Artificial Intelligence. In my exploration of "Digital Humanities Literary Criticism & Theory," I argued that we must not act as modern-day Luddites—fearing that machines will destroy our traditions—but rather as critical thinkers who use technology to ask entirely new questions about human culture and history. We are faced with a choice: will we allow technology to serve as an instrument of surveillance and control, or will we consciously integrate it to empower learning and critical inquiry? By allowing generative AI to take over menial intellectual labour, we can elevate our own human agency, provided we remain vigilant against the unconscious biases and ethical dilemmas embedded in these systems. To uncover how you can reclaim your agency and navigate the algorithms boldly rewriting the future of literary studies,

[Click here to dive into the digital labyrinth].

2: Unlocking the Mind's Hidden Lenses:

Once we understand the digital tools at our disposal, we must turn our gaze inward to examine the psychological frameworks that govern how we interact with texts. In my segment on "Cognitive Biases and the Literary Imagination," I delve into how our own minds continuously alter the narratives we consume. A prime example of this can be found in Julian Barnes's novel The Only Story, where characters use crossword puzzles as a deceptive validation of intellect, creating a false sense of reassurance to shield themselves against the deep existential anguish and disorder of life. Our inherent mental shortcuts and biases are actively rewriting stories in real-time, functioning as psychological blind spots that dictate our literary experiences. If you are ready to discover how your own mind is secretly tricking you while you read and shaping your interpretation of reality,

[Click here to explore the mind's lens].

3: Redefining the Human in a Technoscientific World:

Finally, the convergence of our digital reality and our cognitive frameworks brings us to a startling crossroads: the dawn of the posthuman era. In my address on "The Posthuman Condition," I unpack how the rapid advancements in cybernetics, biogenetics, and artificial intelligence are dismantling the traditional boundaries between human, machine, and artificial life. We are witnessing the disappearance of old binary oppositions and confronting complex questions regarding genetic determinism, cloning, and identity in an entirely new environment. This posthuman turn demands that we critically reassess our old metaphysical concepts and urgently redefine what it means to be a human subject in a "more-than-human" world. To uncover the startling realities of posthumanism in contemporary culture and what this paradigm shift dictates for our collective future,

[Click here to explore the posthuman condition].

Indian Aesthetics and Indian Poetics

The distinction between Indian Aesthetics and Indian Poetics lies primarily in scope, focus, and disciplinary orientation, though the two are deeply interconnected within classical Indian thought. This is generated by ChatGPT to a simple prompt - What is the difference between Indian Aesthetics and Indian Poetics?

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1. Conceptual Scope

Indian Aesthetics

Indian Aesthetics is the philosophical inquiry into beauty, art, and aesthetic experience. It asks:

• What is beauty?

• What is aesthetic pleasure?

• What happens in the mind of the spectator/reader?

• How does art lead to transcendence or spiritual realization?

It is primarily concerned with the experience of rasa (aesthetic relish) and the transformation of emotion into universalized aesthetic bliss.

The foundational text is:

• Natyashastra by Bharata Muni

Later philosophical elaborations appear in the works of:

• Abhinavagupta

In this tradition, aesthetics is not merely about art criticism; it is linked to metaphysics, psychology, and spirituality, especially through the concept of rasa as brahmānanda-sahodara (akin to spiritual bliss).

---

Indian Poetics

Indian Poetics is the systematic study of literary theory, especially poetry (kāvya). It asks:

• What makes poetry poetic?

• What are the elements of literary excellence?

• How does language create aesthetic effect?

• What are the figures of speech and structural principles of literature?

It focuses more on textual construction rather than purely on experience.

Major foundational texts include:

• Kavyalankara by Bhamaha

• Kavyadarsa by Dandin

• Dhvanyaloka by Anandavardhana

Indian Poetics develops multiple schools:

• Alaṅkāra (figures of speech)

• Rīti (style)

• Dhvani (suggestion)

• Vakrokti (obliqueness)

• Rasa (aesthetic sentiment)

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2. Difference in Focus

Indian Aesthetics	Indian Poetics
Concerned with aesthetic experience	Concerned with literary structure and theory
Focus on rasa as experience	Focus on kāvya as verbal construct
Philosophical and experiential	Technical and analytical
Applies to drama, dance, music, poetry	Primarily focuses on poetry and literary language
Emphasis on the rasika (spectator/reader)	Emphasis on the kavi (poet) and text

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3. Relationship Between the Two

They are not separate disciplines in a modern Western sense. Rather:

• Indian Poetics is a part of Indian Aesthetics.

• Poetics provides the technical tools.

• Aesthetics explains the ultimate experience and philosophical significance.

For example:

• The Dhvani theory in Dhvanyaloka explains how suggestion produces rasa.

• Abhinavagupta philosophically interprets rasa as universalized emotion and links it to consciousness.

Thus:

Poetics explains how poetry works.
Aesthetics explains why it matters.*

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4. In Simple Terms

• If a student analyzes metaphor, imagery, and style → they are doing Indian Poetics.

• If they reflect on how the poem produces aesthetic bliss or universal emotional experience → they are engaging with Indian Aesthetics.

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5. Philosophical Depth

Indian Aesthetics goes beyond literary criticism. It connects:

• Art with metaphysics

• Emotion with universal consciousness

• Aesthetic joy with spiritual realization

Indian Poetics, meanwhile, builds detailed linguistic and rhetorical frameworks that anticipate modern stylistics and structuralism.

---

Concluding Insight

Indian Aesthetics is the philosophy of aesthetic experience, while Indian Poetics is the science of literary expression.

The former asks: What is aesthetic bliss?
The latter asks: How is aesthetic bliss produced through language?

Literature Review on Film Studies PhD Project: A Comprehensive Guide

 Introduction

Embarking on a PhD journey in Film Studies is both exciting and intellectually demanding. At the heart of this academic endeavor lies the literature review—a critical component that establishes the foundation for your research. A well-crafted literature review not only demonstrates your command over existing scholarship but also positions your research within the broader academic discourse. This comprehensive guide explores the essential aspects of conducting a literature review for a Film Studies PhD project.

Understanding the Literature Review in Film Studies

A literature review in Film Studies is more than a mere compilation of sources. It is a systematic examination of scholarly works that helps identify connections, contradictions, and gaps in existing research. As film studies draws on multiple disciplinary approaches—including art history, cultural studies, psychoanalytic theory, and philosophy—your literature review must reflect this interdisciplinary richness.

The purpose of a literature review encompasses three key objectives:

1. Understanding the Academic Consensus: Identifying the agreed-upon perspectives and theories in your specific area of film studies.

2. Discovering Debates and Contradictions: Recognizing where scholars disagree and understanding different theoretical positions.

3. Identifying Research Gaps: Finding opportunities where your original contribution can advance the field.

Key Components of an Effective Literature Review

1. Defining Your Research Focus

The first step in crafting a literature review is narrowing your topic. Film studies encompasses vast territories—from national cinemas and genre studies to theoretical approaches and auteur criticism. The more focused your topic, the more manageable and meaningful your literature review becomes. Whether you're exploring transnational cinema, gender representation, documentary forms, or experimental film practices, clarity in your research question is paramount.

2. Searching the Evidence Base

Conducting a comprehensive literature search involves multiple strategies:

- Academic Databases: Utilize specialized film studies databases and interdisciplinary resources to access peer-reviewed journal articles, which offer focused insights into specific topics.

- Seminal Works: Identify foundational texts that have shaped the field. These "seed articles" are frequently cited by other scholars and form the theoretical backbone of your area.

- Citation Tracking: Follow the reference lists of relevant articles to discover additional sources. This technique reveals the scholarly conversation surrounding your topic.

- Interdisciplinary Sources: Given film studies' interdisciplinary nature, explore literature from related fields such as media studies, comparative literature, visual culture, and cultural geography.

3. Critical Evaluation of Sources

Once you've gathered relevant materials, the critical evaluation phase begins. Reading abstracts helps you quickly assess each article's relevance and central arguments. However, deeper engagement requires critical scrutiny:

- Assess the appropriateness of research methods to the questions being asked

- Evaluate the theoretical frameworks employed

- Consider the historical and cultural contexts of the studies

- Identify the strengths and limitations of each work

Just as film critics evaluate cinema, you must critically review the scholarly literature, examining its arguments, methodologies, and contributions to the field.

4. Organizing Your Literature by Themes

Effective literature reviews organize sources thematically rather than chronologically or alphabetically. Group your materials according to the sub-themes of your research topic. This thematic organization allows you to:

- Identify points of scholarly agreement within each theme

- Highlight areas of theoretical or methodological debate

- Recognize understudied aspects or gaps in the literature

For instance, if your PhD focuses on documentary film ethics, you might organize themes around observational cinema, participatory modes, performative strategies, and ethical frameworks.

Methodological Considerations in Film Studies PhD Research

Film Studies PhD programs typically involve intensive training in film theory, history, and research methods. Your literature review should reflect awareness of diverse methodological approaches:

- Textual Analysis: Close reading of films as primary texts

- Historical Research: Archival work and historiographic methods

- Audience Studies: Empirical research on reception and spectatorship

- Cultural Analysis: Contextualizing films within broader social and political frameworks

- Comparative Approaches: Examining films across national, cultural, or generic boundaries

Understanding these methodological traditions helps you position your own research approach within established scholarly practices while potentially identifying innovative methodological combinations.

Writing Your Literature Review

When writing your literature review, maintain a critical and analytical tone. Avoid merely summarizing each source; instead, synthesize different perspectives to build a coherent narrative that advances toward your research questions.

Structure your review to move from general to specific, establishing the broader context before narrowing to your particular focus. Use transitional statements to show relationships between different scholars' work—whether they're building on each other's ideas, offering alternative perspectives, or directly contradicting one another.

The classic academic pattern of thesis, antithesis, and synthesis provides a useful framework. Present dominant perspectives, introduce counter-arguments or alternative approaches, and then synthesize these into a nuanced understanding that reveals where your research will contribute.

Common Challenges and How to Overcome Them

Conducting a literature review for film studies presents several challenges:

- Volume of Sources: The vast body of film scholarship can be overwhelming. Focus on peer-reviewed sources most directly relevant to your research question.

- Interdisciplinary Breadth: Film studies' interdisciplinary nature means relevant scholarship exists across multiple fields. Set boundaries while remaining open to valuable insights from adjacent disciplines.

- Theoretical Complexity: Film theory draws on complex philosophical and psychoanalytic traditions. Take time to understand key theoretical concepts thoroughly.

- Balancing Breadth and Depth: Aim for comprehensive coverage of your specific topic rather than superficial treatment of too broad an area.

Conclusion

A rigorous literature review is foundational to a successful Film Studies PhD project. It demonstrates your scholarly expertise, positions your research within existing academic conversations, and reveals the unique contribution your work will make to the field. By systematically searching, critically evaluating, and thoughtfully organizing relevant scholarship, you create the intellectual framework that will guide your doctoral research.

Remember that a literature review is not a static document but an evolving component of your research. As you progress through your PhD journey, you'll continually engage with new scholarship, refine your understanding, and deepen your critical analysis. This ongoing dialogue with existing literature is what makes doctoral research a genuine contribution to knowledge in Film Studies.

As you undertake this challenging but rewarding task, approach it with intellectual curiosity, critical rigor, and the understanding that you're joining a vibrant scholarly community dedicated to understanding cinema's artistic, cultural, and theoretical dimensions.

Kite Flying Festivals: From Gujarat's Uttarayan to the Skies of the World

 When the skies of Gujarat transform into a canvas of vibrant colors every January, it marks not just the celebration of Uttarayan, but a testament to an ancient tradition that has soared across continents and cultures. Kite flying, a practice steeped in history and cultural significance, brings communities together under the open sky in a unique celebration of hope, harvest, and human ingenuity.

Uttarayan: Gujarat's Sky-High Celebration

In Gujarat, Uttarayan is more than just a festival—it's a cultural phenomenon that brings the entire state to a standstill. Celebrated on January 14th during Makar Sankranti, this marks the sun's transition into the northern hemisphere, signaling the end of winter and the beginning of the harvest season. The festival continues through January 15th, known as Vasi Uttarayan.

From before dawn until well after dark, the skies over cities like Ahmedabad, Rajkot, Surat, and Vadodara become a spectacular tapestry of flying kites. Rooftops transform into community gathering spaces where neighbors share snacks, borrow scissors, and engage in friendly competitions. The tradition is so deeply rooted that these days have been declared public holidays in Gujarat, allowing approximately 8-10 million people to participate.

The International Kite Festival, held in Ahmedabad since 1989, has elevated this celebration to global prominence. Master kite makers and flyers from around the world converge at the Sabarmati Riverfront, showcasing designer kites of infinite variety. The event features international kite flyer parades, cultural programs, traditional craft stalls, and even Suryanamaskar demonstrations by schoolchildren.

The History of Kites: An Ancient Innovation

The origin of kites remains shrouded in the mists of time, though most scholars believe they were developed in ancient China. However, compelling evidence suggests that kites may have been independently invented by cultures in Malaysia, Indonesia, and the South Pacific, where they served practical purposes as fishing instruments made from natural materials like leaves and reeds.

Archaeological discoveries in Vanuatu, Micronesia, indicate that migrations from Southeast Asia to Polynesia began around 1600-1200 BCE. These voyagers likely carried the concept of kites with them, as evidenced by similar kite designs and sacred stories found across remote Polynesian islands. This suggests that kites could be at least 3,000 years old, though they may have existed even earlier.

The mention of kite flying appears in the Rigveda, dating back over 5,000 years, connecting the practice to ancient Indian spiritual and cultural traditions. Throughout history, kites have served various purposes—from military signaling and measuring distances to scientific experiments and pure recreation.

Kite Festivals Around the World

While Gujarat's Uttarayan stands as one of the most spectacular kite celebrations, the tradition of kite festivals has taken flight across the globe:

Weifang, China - Known as the "Kite Capital of the World," Weifang hosts its International Kite Festival every April. The event showcases elaborate designs featuring dragons, phoenixes, and mythical creatures. The city also houses the World Kite Museum, celebrating the region's kite-making heritage.

Berck-sur-Mer, France - This French coastal town hosts its International Kite Festival annually in April, attracting thousands of visitors. Giant inflatable kites, synchronized kite ballets, and kite-building workshops create a mesmerizing spectacle against the backdrop of beautiful beaches.

Bali, Indonesia - Held between July and August, the Bali Kite Festival is deeply spiritual in nature. Villages compete by flying massive traditional kites like the Janggan (long-tailed kites) and Bebean (fish-shaped kites), accompanied by traditional Gamelan music. The festival honors Hindu deities and seeks blessings for bountiful harvests.

Cape Town, South Africa - As the largest kite festival in Africa, the Cape Town International Kite Festival welcomes 20,000 visitors and hundreds of kites in all shapes and sizes, celebrating the continent's growing kite culture.

Zilker Kite Festival, USA - Founded in 1929 in Austin, Texas, this beloved American tradition was designed to ignite creativity in children. The festival features contests, showcases, fun runs, and children's concerts, making it a cherished family-friendly event.

The Cultural Significance

Kite flying transcends mere recreation; it embodies cultural values and community spirit. In Gujarat, the tradition teaches lessons about competition, cooperation, and community. Strangers become collaborators, sharing techniques and celebrating beautiful kite cuts even when they're not their own. The skyline becomes a commons—open to whoever shows up with a spool and hope.

The festival also marks important agricultural transitions. As a harvest celebration, it acknowledges the farmers' dependence on seasonal cycles and the return of favorable weather. The practice of looking skyward together creates a unique sense of shared purpose and collective joy.

Conclusion

From the rooftops of Gujarat to the beaches of France, from the historic kite capital of Weifang to the spiritual celebrations in Bali, kite flying festivals remind us of our shared humanity. These colorful celebrations connect us to ancient traditions while creating new memories, bridging cultures, and bringing communities together under the vast, open sky.

As kites dance in the wind, they carry with them millennia of human innovation, cultural expression, and the simple joy of watching something beautiful soar against the blue expanse above. Whether you're in Ahmedabad for Uttarayan or at any kite festival around the world, you're participating in a tradition that has united humanity across time and space—one string, one kite, one sky at a time.

The Hungarian Wave: How László Krasznahorkai and David Szalay Conquered the Literary World in 2025

 Introduction: A Historic Fortnight for Hungarian Letters

2025 has become a landmark year for Hungarian literature, with the world's two most coveted literary crowns—the Nobel Prize in Literature and the Booker Prize—resting on Hungarian heads within weeks of one another.

László Krasznahorkai and David Szalay have achieved what few nations can claim: dominating the global literary stage at the highest level. Their victories represent not just personal triumphs but a celebration of Hungarian literature's profound contribution to world letters.

Part 1: The Nobel Laureate – László Krasznahorkai

The Announcement

On October 9, 2025, the Swedish Academy announced that the 2025 Nobel Prize in Literature had been awarded to László Krasznahorkai, a Hungarian novelist and screenwriter born in 1954. The citation read: "for his compelling and visionary oeuvre that, in the midst of apocalyptic terror, reaffirms the power of art."

With this honor, Krasznahorkai became only the second Hungarian to win the Nobel Prize in Literature, following Imre Kertész's victory in 2002. The award recognition comes with a prize of 1.2 million USD.

About the Author

László Krasznahorkai hails from Gyula, a small town in southeastern Hungary. His literary journey was shaped by his experiences during the Hungarian communist era. Following a fellowship that brought him to West Berlin in 1987, he has spent considerable time in Germany, where his work is particularly celebrated.

His novels, short stories, essays, and screenplays are known for their dark, introspective quality. Major works include Szatántangó, which was adapted into a monumental film by Béla Tarr, as well as The Melancholy of Resistance and Baron Wenckheim's Homecoming.

Thematic Core and Style

Krasznahorkai's writing is distinguished by several hallmarks:

- Complex, postmodern narratives exploring moral decay and human delusion

- Daunting prose and philosophical depth

- Exploration of themes such as moral decay, human delusion, and the power of art

- Labyrinthine sentence structures

- The concept of a "slow apocalypse"—not a sudden catastrophe but a gradual erosion of values

Part 2: The Booker Prize Winner – David Szalay

The Victory

In November 2025, just weeks after Krasznahorkai's Nobel triumph, David Szalay was announced as the winner of the prestigious Booker Prize for his novel Flesh. The £50,000 award recognizes Szalay as the first British-Hungarian author to win this honor.

This was Szalay's second nomination for the Booker Prize; his 2016 novel All That Man Is had been shortlisted previously.

About the Author and Novel

David Szalay, born in 1974 in Montreal, Canada, brings a distinctly diasporic Hungarian perspective to contemporary literature. His novel Flesh explores themes of class, power, intimacy, migration, and masculinity through the life of a man navigating between Hungary and London.

The novel is noted for:

- Spare, minimalist prose

- Emotional precision

- Unflinching examination of human vulnerability

- A unique balance of restraint and profound insight

Comparison and Contrast

While Krasznahorkai and Szalay represent different approaches to contemporary literature, both authors grapple with despair, alienation, and the physical realities of modern European existence:

- Krasznahorkai: Apocalyptic, expansive, concerned with metaphysical collapse

- Szalay: Intimate, restrained, concerned with individual psychological states

Yet both resist easy consolation and affirm the necessity of literature in confronting difficult truths.

Conclusion: A Moment of Glory

The back-to-back victories of Krasznahorkai and Szalay in 2025 mark a significant moment in global literary recognition. Hungary, a nation with a profound literary tradition, has reclaimed its place at the center of world letters. Both authors, through their uncompromising vision and formal innovation, remind us that literature remains a vital form of witness and resistance to the forces of degradation and dehumanization.

Their recognition by the world's most prestigious literary prizes affirms that Hungarian voices—whether grounded in apocalyptic vision or intimate minimalism—continue to speak to the deepest anxieties and aspirations of contemporary readers.

Humans in the Loop - Film Review: Exploring AI Bias through Indigenous Perspectives

 Introduction

In an era where artificial intelligence increasingly shapes our world, the film "Humans in the Loop" emerges as a powerful meditation on the hidden human labor behind AI systems. Directed by Aranya Sahay, this 2024 independent Indian drama explores the complex intersection of Adivasi culture, technology, and the invisible work of data labeling that trains AI systems. The film not only tells the story of Nehma, an indigenous mother, but also raises crucial questions about bias, representation, and the value of traditional knowledge in the digital age.

Film Overview

"Humans in the Loop" is a 2024 independent Indian drama that explores the intersection of Adivasi culture and artificial intelligence. The plot follows Nehma, an indigenous mother who works as a data labeller in Jharkhand, where she discovers how machine learning often ignores or misrepresents her community's traditional knowledge. 

The film is distinguished by its visual poetry and sharp social commentary on the gendered biases embedded within modern technology. Despite its modest box office performance, the film has gained significant momentum through a micro-community rollout and received executive producer support from Kiran Rao. It has achieved international recognition by winning several Best Film awards and securing the prestigious Sloan Distribution Grant.

Thematic Exploration

The film brilliantly uses Nehma's story to reveal the invisible human labour embedded in AI systems. It portrays AI not as a neutral technological force, but as a system shaped by the biases, assumptions, and cultural perspectives of those who train and develop it. This is a poignant reminder that behind every algorithm lies human judgment and labor, often performed by workers from marginalized communities.

The narrative also highlights how indigenous worldviews challenge the cultural biases of modern technology. The film argues that true expertise comes from lived experience and that the wisdom of indigenous communities should be recognized and valued in the development of AI systems.

Key Visual and Narrative Elements

The film employs visual poetry as a means to communicate the complex relationship between human identity and technology. Through striking cinematography, Sahay captures the landscape of Jharkhand while interweaving the protagonist's internal world. The director effectively uses metaphor and visual symbolism to illustrate concepts that could otherwise be abstract, making the philosophical questions about AI bias accessible and emotionally resonant.

Distribution and Global Reach

What makes "Humans in the Loop" particularly significant is its distribution strategy. Despite being an independent Indian film, it has achieved remarkable global reach through: film festival circuits, the Sloan Distribution Grant which positioned it as eligible for Academy Awards consideration, and ultimately, a global release on Netflix. This trajectory demonstrates how niche, socially conscious cinema can find global audiences when backed by strategic support and critical acclaim.

Critical Reception

Critics have consistently lauded the film for its visual stunning execution combined with thematic importance. The film has been recognized for its emotional resonance and social commentary, winning awards at international film festivals. The recognition from institutions like the Sloan Foundation underscores the film's value as both an artistic work and an important cultural document exploring critical contemporary issues.

Conclusion

"Humans in the Loop" is more than a film about AI training data. It is a meditation on labor, dignity, cultural representation, and the voices that shape technology. By centering an Adivasi woman's experience, Aranya Sahay creates a space for conversations about whose perspectives matter in the development of artificial intelligence. The film stands as a powerful reminder that technology is never neutral—it reflects the values, biases, and wisdom of those who create it.

For educators, technologists, and anyone concerned with ethical AI development, this film offers invaluable insights into the human side of machine learning and the importance of including diverse voices in technological progress.

Related Videos

Watch these videos to deepen your understanding of the themes in 'Humans in the Loop':

Mastering Digital Identity and AI Tools

 The Modern Researcher’s Guide: Mastering Digital Identity and AI Tools

By Dilip Barad

Video recording of the online session

In the rapidly evolving landscape of academia, the traditional image of a scholar buried under a mountain of dusty books is being replaced by the digitally savvy researcher navigating complex ICT tools.

In a recent engaging session on "Practical Skills for the Use of ICT in Research," Professor Dr. Dilip Barad, a senior academic with over 26 years of experience, laid out a roadmap for scholars navigating the digital age. From managing digital footprints to leveraging AI for literature reviews, here are the key takeaways from the session.

1. Your Digital Identity is Your "Aadhar" of Research

One of the most pressing issues identified during the session was the lack of digital visibility among scholars. A pre-session survey revealed that out of 49 participants, only a handful possessed updated profiles on platforms like Google Scholar or Scopus.

Dr. Barad emphasized that a digital profile is not just vanity; it is essential for data transparency and national ranking systems like IRINS (Indian Research Information Network System). He noted a stark contrast in digital adoption across India, observing that Southern states have significantly higher registration numbers on IRINS compared to the North, East, or West.

The Solution? ORCID. Dr. Barad describes the ORCID iD as the "Aadhar card" (unique identification number) for researchers. It serves as a persistent digital identifier that connects you to your contributions.

• Why you need it: Digital tools and AI fetch data through unique identity markers. Without an ORCID iD, your work may remain invisible to the algorithms that drive global citations.

• Actionable Tip: Create an ORCID profile today. It allows you to sync your biography, employment, and publications across other platforms like Web of Science and Vidwan with a single click.

2. The Elephant in the Room: AI and Ethics

Is using AI in research cheating? Dr. Barad addressed this head-on, comparing the ethical dilemma to John Dryden’s analysis of Ben Jonson. If a "great emperor" (or a sophisticated tool) plunders ideas, it is often viewed differently than a common thief.

However, in the context of modern research, AI should be viewed as a consultant, not an author.

• The Golden Rule: If human consultancy is valid, machine consultancy is also valid—provided it is disclosed.

• Publisher Guidelines: Major publishers like Elsevier and UNESCO now permit the use of Generative AI for language refinement and research organization, but with strict caveats: AI cannot be listed as a co-author, and its use must be transparently declared.

3. Practical Demo: Deep Research with NotebookLM

The highlight of the session was a live demonstration of Google’s NotebookLM, a tool generating buzz in the academic community. Dr. Barad demonstrated a "Deep Research" workflow using prompt engineering to accelerate the literature review process.

Here is the step-by-step workflow demonstrated:

1. Fast vs. Deep Research: The tool allows for "Deep Research" on a specific topic, searching websites to curate a list of sources (in this demo, 48 resources were found).

2. Structuring the Data: Instead of reading blindly, the first prompt requested a table showing publication dates, author credentials, and whether the sources were primary or secondary.

3. Citation Analysis: A subsequent prompt asked the AI to identify which sources were most frequently cited by other sources in the notebook, helping to identify the most authoritative texts.

4. Finding the Gap: Perhaps most importantly, the tool was used to identify research gaps. The AI highlighted a lack of research regarding the "long-term cognitive consequences of automation"—essentially, what happens to the human brain when AI takes over our thinking processes.

5. Drafting the Review: Finally, the tool drafted a literature review complete with hypotheses and research questions based on the identified gaps, adhering to frameworks like PRISMA.

4. The Human in the Loop

Despite the power of these tools, Dr. Barad concluded with a vital reminder: Human agency is irreplaceable.

While AI can synthesize data and generate hypotheses, the researcher must verify the output. For instance, the demonstration uncovered a fascinating potential research topic: "The Cognitive Consequences of Automation" and the "Human in the Loop" theory. This refers to the risk of "brain rot" or reduced cognitive function due to over-reliance on AI—a hypothesis supported by preliminary studies from MIT.

Final Thoughts

The transition from physical print to digital platforms is not just about convenience; it is about relevance. As Dr. Barad noted, digital tools can only communicate with digital data; they cannot read a physical book sitting on a shelf. To ensure your research is discoverable and impactful, you must embrace the digital ecosystem—starting with your ORCID profile and extending to the ethical use of AI tools.

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This blog post was drafted based on the transcript of the video "Practical Skills for the Use of ICT in Research," featuring Dr. Dilip Barad.