Saturday, 9 April 2022
The Memorabilia 2022 released by Dr. Kaushik Bhatt and Prof. Dilip Barad
Video recording of the Annual Function - 9 April 2022
From the Desk of the Head of the Department . . .
This passing out batch, i.e., 2020-22 will go in the annals as ‘the Corona Batch’. Among several disruptions #Covid19 pandemic brought in, the disruption to education system is of a curious kind. On one hand it gave ample opportunities to explore new dimensions in online pedagogy, while on the other hand it made us realize several vital pedagogical issues, which were, hitherto, taken as granted.
The benefits of teaching this batch were innumerable. Right from the beginning, it was challenging to build a rapport with students as students have never visited department or teachers, personally. To bridge this gap, we tried our best to make teaching as interesting and engaging as possible. And hence, we have to ‘revisit & relearn’ pedagogy of teaching in online remote mode. We also have to try our hands at new technologies like OBS, Live Streaming, Video Recording, Learning Glass, Video Conferencing etc. It was not only to use these technologies but also to make it effective and engaging for learners. Going down the memory lane of screenshots taken during first week of teaching this batch was a good memory to see how it all began. The Google Class & the Group were introduced in live video conferencing session – and OBS was used to make it engaging. The learning glass was also used to see that the teaching does not become dull and boring. The first two pictures in the below given collage-pyramid are telling this story. However, the story of disruption does not end here. The other side of the story, the students’ side, had also been of great learning importance.
The number of students in this Corona Batch was also considerably low than normal class strength. That was like a double whammy. One, virtual existence of all of us and on it, low number. Some may say it is good. Easy to manage! Well, yes, that’s true but we wanted to do lots of activities. Without good number of participations from equally good number of students, it is difficult to carry on the show. We believe, education is not only completing syllabus and the routine academic rigor. It is all about participating in co-curricular, extra-curricular activities like reading papers in seminars, publishing research papers, participating in cultural and sports events. It is not to say that there was complete stand-still to all these activities. However, it reduced drastically in this passing out batch 2020-22. Even with all these limitations of second wave of corona pandemic and lockdowns of academic institutes and activities not happening as such, our students have participated in around 40 events. Have a look at the chart in Memorabilia 2022 – page number 138/139. In spite of reasonably good participation in the troubling time, we were not able to get laurels and accolades. Except for FIRST positions by Riddhi Bhatt in Essay Writing and Khushbu Lakhupota in Research Paper Writing competitions, the participation did not yield desired result. Apart from this sorry state of affairs, even use of library substantially reduced during this year. Normally, all students have their library card and keep on visiting library occasionally to exchange books. This time, several students did not open an account with University Central Library. To add to this sorry state of affairs, several students’ committees remained ineffective or inactive. This is a great lesson to remembered. This is an example of why education is not only completing syllabus. When the students are not able to have physical gatherings in an academic institute, there are innumerable life-skills which are not acquired. Yes, some are genius and they do not require such training or orientation. Nevertheless, we need to build an environment wherein all these life-skills are acquired without much effort. We are unhappy to see that many talented students are passing out without brushing up their talent, many committee leaders are passing out without learning leadership skills, many are passing out without getting the finishing fine touch of our Department of English.
It is not to be concluded that all was dark and dull. We have seen amazing participation from Kishan, Latta, and Sneha in various events. Apart from Daya, Nidhi & Riddhi, Latta & Khushboo have displayed an amazing development in their performances from first to the last semester. Chandani, Sneha, Jignesh, Bhavyang, Pina & Aditi were also very good and performed as expected. Hiral and Nandita are talented but somehow, they were not able explore their potential during the studies. Bhumika, Anjali & Stuti are also good in several things but were not able to perform as per their capacities. You all have incredible spart within yourself. Had there been no corona pandemic, we would surely have been able to fire it and see the sparkles that you all are capable of.
With a sense of pastness, we are all supposed to look forward towards future. Bygone is bygone. No one can amend the past. But future is still in our hand, in our control. From the pandemic year we learn to be ready for whatsoever befall on us. Without giving an iota of doubt or an inch of hesitation, we shall be ready to live life it all its fullest capacity.
On behalf of Department of English, MKBU, I wish you all a great future.
Let yourself metamorphose into something so beautiful that we feel proud to say that ‘s/he is our student’. ~ Dilip Barad
Monday, 14 March 2022
Being Teacher in Digital Age | Tools for Teacher Toolkit
Video Recording of the Online Session
National Education Policy | Technology in Education
Screenshots of the event:
Friday, 18 February 2022
, (Sanskrit: “essence,” “taste,” or “flavour,” literally “sap” or “juice”) Indian concept of aesthetic flavour, an essential element of any work of visual, literary, or performing art that can only be suggested, not described. It is a kind of contemplative abstraction in which the inwardness of human feelings suffuses the surrounding world of embodied forms.
— Aitareya Brahmana 6.27 (~1000 BCE), Translator: Arindam Chakrabarti
— Natyashastra 6.109 (~200 BCE–200 CE), Translator: Daniel Meyer-Dinkgräfe
Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 AD. In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hāsya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following:
- Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green
- Hāsyam (हास्यं): Laughter, mirth, comedy. Presiding deity: Shiva. Colour: white
- Raudram (रौद्रं): Fury. Presiding deity: Shiva. Colour: red
- Kāruṇyam (कारुण्यं): Compassion, mercy. Presiding deity: Yama. Colour: grey
- Bībhatsam (बीभत्सं): Disgust, aversion. Presiding deity: Shiva. Colour: blue
- Bhayānakam (भयानकं): Horror, terror. Presiding deity: Yama. Colour: black
- Veeram (वीरं): Heroism. Presiding deity: Indra. Colour: saffron
- Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow
A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression "Navarasa" (the nine rasas), could come into vogue.
Shānta-rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis (Source Wikipedia).
Thursday, 3 February 2022
The Only Story - Julian Barnes
About the novel - 'The Only Story'
1. Introductory Presentation by Students: The Only Story - Julian Barnes
2. Characters | Plot Summary | Timeline | The Only Story
3. Narrative Pattern | The Only Story
4. Theme of Love | Passion and Suffering | The Only Story
5. Memory Novel | Memory and History | The Only Story
6. Joan | Character Study | The Only Story
7. Two Ways to Look at Life | The Only Story
8. Question of Responsibility | The Only Story
9. Theme of Marriage | Critique of Marriage Institution | The Only Story
Presentations on 'The Only Story:
Sunday, 23 January 2022
Gun Island - Amitav Ghosh
Genre: Novel, Cli-fi (Climate Fiction)
- What is Cli-fi (Climate Fiction)?
- Climate fiction (sometimes shortened as cli-fi) is literature that deals with climate change and global warming. Not necessarily speculative in nature, works may take place in the world as we know it or in the near future. The genre frequently includes science fiction and dystopian or utopian themes, imagining the potential futures based on how humanity responds to the impacts of climate change. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society. Climate fiction is distinct from petrofiction which deals directly with the petroleum culture and economy. (To read more, open this Wikipedia link)
- Brief History of Cli-fi : Freelance writer Dan Bloom coined the term cli-fi in 2011 in a press release for Jim Laughter’s Polar City Red, a novel set amid climate refugees in a future Alaska. Today, Bloom publishes The Cli-Fi Report, an online resource serving all things climate fiction. From his home in Taiwan, he told Means & Matters he sees cli-fi as an urgent genre, a route to “wake people up via storytelling.”
Characters and Summary of 'Gun Island
1. Characters and Summary - 1 | Sundarbans | Gun Island | Amitav Ghosh
2. Characters and Summary - 2 | USA | Gun Island | Amitav Ghosh
3. Summary - 3 | Venice | Part 2 of Gun Island | Amitav Ghosh
Thematic Study of 'Gun Island
1. Etymological Mystery | Title of the Novel | Gun Island | Amitav Ghosh
2. Historification of Myth & Mythification of History | Gun Island | Amitav Ghosh
3. Climate Change | The Great Derangement | Gun Island | Amitav Ghosh
4. Migration | Human Trafficking | Refugee Crisis | Gun Island | Amitav Ghosh
Points to Ponder:
- How does this novel develop your understanding of a rather new genre known as 'cli-fi'?
- How does Amitav Ghosh use myth of Gun Merchant 'Bonduki Sadagar' and Manasa Devi to initiate discussion on the issue of Climate Change and Migration/Refugee crisis / Human Trafficking?
- How does Amitav Ghosh make use of 'etymology' of common words to sustain mystery and suspense in the narrative?
- There are many Italian words in the novel. Click here to view the list of words. Have you tried to translate these words into English or Hindi with the help of Google Translate App? If so, how is Machine Translation helping in proper translation of Italian words into English and Hindi?
- What are your views on the use of myth and history in the novel Gun Island to draw attention of the reader towards contemporary issues like climate change and migration?
- Is there any connection between 'The Great Derangement' and 'Gun Island'?
Additional Reading resources:
Q & A Session:
Friday, 7 January 2022
Understanding Unintentional Plagiarism | Research in Digital Era
How do students research in the digital age? (Source: Turnitin)
Evaluating Online Sources
Tuesday, 28 December 2021
The Ministry of Utmost Happiness - A Novel by Arundhati Roy
General Observations about the Novel - 'The Ministry of Utmost Happiness'
About the Characters and Summary of the novel 'The Ministry of Utmost Happiness'
Part 1 | Khwabgah Part 2 | Jantar Mantar Part 3 | Kashmir and Dandakaranyak Part 4 | Udaya Jebeen & Dung Beetle
Thematic Study of 'The Ministry of Utmost Happiness'
Symbols and Motifs in 'The Ministry of Utmost Happiness'
Check your understanding of the novel - Click here to open online test on 'The Ministry of Utmost Happiness'
Additional Reading Resources:
- Arundhati Roy's Fascinating Mess
- Political Overtones and Allusions in Arundhati Roy's The Ministry
- The Poetic Realism of Arundhati Roy in The Ministry
- Outside Language and Power: The Mastery of A. Roy's The Ministry
- Political and Gender Issues in Arundhati Roy's The Ministry
- Ecofeminist Study of 'The Ministry of Utmost Happiness'
- Environmental Concerns in 'The Ministry'