Being Teacher in Digital Age | Tools for Teacher Toolkit
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Video Recording of the Online Session
National Education Policy | Technology in Education
Screenshots of the event:
Monday, 14 March 2022
Friday, 18 February 2022
Indian Poetics
Rasa Theory:
According to an entry in Encyclopaedia Britannica,
rasa, (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.
The theory of rasa is attributed to Bharata, a sage-priest who may have lived sometime between the 1st century BCE and the 3rd century CE. It was developed by the rhetorician and philosopher Abhinavagupta (c. 1000), who applied it to all varieties of theatre and poetry. The principal human feelings, according to Bharata, are delight, laughter, sorrow, anger, energy, fear, disgust, heroism, and astonishment, all of which may be recast in contemplative form as the various rasas: erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous, and quietistic. These rasas comprise the components of aesthetic experience. The power to taste rasa is a reward for merit in some previous existence.
Rasas are created by bhavas the state of mind.
The rasa theory has a dedicated section (Chapter 6) in the Sanskrit text Natya Shastra, an ancient scripture from the 1st millennium BCE attributed to Bharata Muni. However, its most complete exposition in drama, songs and other performance arts is found in the works of the Kashmiri Shaivite philosopher Abhinavagupta (c. 1000 CE), demonstrating the persistence of a long-standing aesthetic tradition of ancient India. According to the Rasa theory of the Natya Shastra, entertainment is a desired effect of performance arts but not the primary goal, and the primary goal is to transport the audience into another parallel reality, full of wonder and bliss, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions.
Although the concept of rasa is fundamental to many forms of Indian arts including dance, music, theatre, painting, sculpture, and literature, the interpretation and implementation of a particular rasa differs between different styles and schools (Wikipedia Rasa).
The word rasa appears in ancient Vedic literature. In Rigveda, it connotes a liquid, an extract and flavor. In Atharvaveda, rasa in many contexts means "taste", and also the sense of "the sap of grain". According to Daniel Meyer-Dinkgräfe – a professor of Drama, rasa in the Upanishads refers to the "essence, self-luminous consciousness, quintessence" but also "taste" in some contexts. In post-Vedic literature, the word generally connotes "extract, essence, juice or tasty liquid".
Rasa in an aesthetic sense is suggested in the Vedic literature, but the oldest surviving manuscripts, with the rasa theory of Hinduism, are of Natya Shastra. The Aitareya Brahmana in chapter 6, for example, states:
Now (he) glorifies the arts,
With these the worshipper recreates his self,
that is made of rhythms, meters.
The Sanskrit text Natya shastra presents the rasa theory in Chapter 6, a text attributed to Bharata Muni. The text begins its discussion with a sutra called in Indian aesthetics as the rasa sutra:
Rasa is produced from a combination of Determinants (vibhava), Consequents (anubhava) and Transitory States (vyabhicaribhava).
According to the Natya shastra, the goals of theatre are to empower aesthetic experience and deliver emotional rasa. The text states that the aim of art is manifold. In many cases, it aims to produce repose and relief for those exhausted with labor, or distraught with grief, or laden with misery, or struck by austere times. Yet entertainment is an effect, but not the primary goal of arts according to Natya shastra. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.
The Abhinavabhāratī is the most studied commentary on Natyasastra, written by Abhinavagupta (950–1020 CE), who referred to Natyasastra also as the Natyaveda.[18][19] Abhinavagupta's analysis of Natyasastra is notable for its extensive discussion of aesthetic and ontological questions. According to Abhinavagupta, the success of an artistic performance is measured not by the reviews, awards or recognition the production receives, but only when it is performed with skilled precision, devoted faith and pure concentration such that the artist gets the audience emotionally absorbed into the art and immerses the spectator with pure joy of rasa experience.
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.[4] 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.[12][21] 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:[22]
- 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[23]
Śāntam rasa
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).
Online Test: Check your understanding of Rasa Theory
Additional Resorces:
Thursday, 3 February 2022
The Only Story
The Only Story - Julian Barnes
Julian Barnes, in full Julian Patrick Barnes, pseudonyms Edward Pygge and Dan Kavanagh, (born January 19, 1946, Leicester, England), British critic and author of inventive and intellectual novels about obsessed characters curious about the past. Click here to read more, in brief, about his works).
About the novel - 'The Only Story'
1. Introductory Presentation by Students (2023)
2. Introductory Presentation by Students (2022): The Only Story - Julian Barnes
3. Characters | Plot Summary | Timeline | The Only Story
4. Narrative Pattern | The Only Story
5. Theme of Love | Passion and Suffering | The Only Story
6. Memory Novel | Memory and History | The Only Story
7. Joan | Character Study | The Only Story
8. Two Ways to Look at Life | The Only Story
9. Question of Responsibility | The Only Story
10. Theme of Marriage | Critique of Marriage Institution | The Only Story
'The Only Story' as a Postmodern Novel by Julian Barnes
Crosswords: Symbolic Significance
The Question of Memory
Postmodern Absurdist Critique of 'The Only Story'
Summary of 'The Only Story'
Check your understanding of the novel: Click here to open an online test
Points to Ponder: Questions
Presentations on 'The Only Story:
Additional Reading Resources:
Worksheets:
Sunday, 23 January 2022
Gun Island
Gun Island - Amitav Ghosh
Amitav Ghosh’s latest novel, Gun Island, traces familiar crosscultural patterns evident in his earlier novels. There are journeys by land and water, diaspora and migration, experiences aboard ships, the world of animals and sea-creatures. Ghosh foregrounds environmental issues like climate change and the danger to fish from chemical waste dumped into rivers by factories, concerns that carry over from earlier books like The Hungry Tide and The Great Derangement.
Gun Island describes the quest of Deen, a scholar and collector of rare books, who returns from New York, his city of domicile, to the Sunderbans in West Bengal to unravel the mystery and legend of a seventeenth-century merchant, Bonduki Sada-gar, translated “The Gun Merchant,” and his persecution by Manasa Devi, mythical goddess of snakes. In a talk held in New Delhi after the release of the novel, Ghosh stated that the merchant “was a trope for trade.” The merchant and the goddess dramatize “the conflict between profit and the world.” In the novel, the goddess pursues the merchant to make him aware of other realities like the animal world: “Humans—driven, as was the Merchant, by the quest of profit—would recognize no restraint in relation to other living things.”
We learn that the old Arabic name for Venice was al-Bunduqevya, which is also the name for guns. Deen concludes that the name Bonduki Sadagar did not perhaps mean the Gun Merchant but the Merchant who went to Venice. When Deen travels to Venice to research further on the Gun Merchant, he discovers that many Bangladeshis are being employed as illegal migrant labor. Their hazardous journey across the Middle East and Africa and the strong, even militant opposition to their presence in the city by Italian authorities form a major segment of the second part of the novel, contrasting with the Gun Merchant’s past, prosperous journey to Venice (Rita Joshi - World Literature Today).
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. Part I - Historification of Myth & Mythification of History | Gun Island | Amitav Ghosh
Part II- Historification of Myth & Mythification of History | Gun Island | Amitav Ghosh (Click to watch video)
Part III - Historification of Myth & Mythification of History | Gun Island | Amitav Ghosh (Click to watch video)
3. Climate Change | The Great Derangement | Gun Island | Amitav Ghosh
4. Migration | Human Trafficking | Refugee Crisis | Gun Island | Amitav Ghosh
Check your understanding: Appear in Online Test
Worksheets for Flipped Classroom Activities:
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:
- Towards a post(colonial)human culture: Revisiting Amitav Ghosh’s Gun Island as a fall of Eurocentric humanism by Saikat Chakraborty
- Climate and Culture in Crisis - Gun Island
- Surreal Novel about Climate Change and Migration - Gun Island
- The Era of Environmental Derangement: Witnessing Climate Crisis in Amitav Ghosh’s Gun Island
With ‘Gun Island,’ Amitav Ghosh turns global crises into engaging fiction
Q & A Session:
Thematic Study
Friday, 7 January 2022
Avoid Plagiarism - Research in Digital Era
Understanding Unintentional Plagiarism | Research in Digital Era
How do students research in the digital age? (Source: Turnitin)
The Pew report shows that the ease with which information “appears” online allows students to avoid any of the
questions that may surface concerning the quality and intent of information they “research.” The Pew survey revealed
that only one percent of those surveyed reported as “excellent” the ability of students “to recognize bias in online
content.” As for their “ability to assess the quality and accuracy of information they find online,” only three percent
reported that they found students to be “excellent.”
This data supports the following insights into student research behavior, specifically:
• Students appear to value immediacy over quality in online research
The ease with which “the answer” may be found online places sites such as Wikipedia, homework help sites, answer
sites, and other social and content sharing sites to the top in terms of source matches.
• Students often use cheat sites and paper mills as sources
Less a research competency issue than a moral and ethical one, the significant number of sources that match to
cheat sites and paper mills suggest that for students there is a bias towards immediate outcomes and results rather
than towards concerted effort to meet assignment goals.
• There is an over reliance on the “wisdom of the crowd”
Students appear to demonstrate a strong appetite for crowd-sourced content in their research. Though it is not immediately evident why students seek these sources out, the strong reliance on these types of sites indicate difficulty
assessing the authority and legitimacy of the content these sources present.
• Student “research” is synonymous with “search”
The frequent and uninhibited use of sites with limited educational value (as defined by the quality and authority of
content) in student work underscores a preference for “searched,” rather than “researched” content.
• Existing student source choices warrant a need for better search skills
In addition to a preference for immediacy, the popularity of crowd-sourced content online indicates that a majority of
students are engaging in cursory or shallow searches for content. At play may be an absence of awareness of how
search engines work and how to effectively conduct searches to find appropriate content. What also appears to be
absent is the use of criteria (whether internally—or externally—defined) to judge that content.
Evaluating Online Sources
The Source Educational Evaluation Rubric (SEER) represents the evolution of the critical approach that Turnitin has
adopted and used to categorize websites in our analysis of student sources. The rubric was designed by academic
experts and used by secondary and higher education educators who field-tested the rubric by using it to evaluate over
300 of the most popular student sources (which will be shared in a follow-up white paper.).
The rubric is built on five criteria:
• Authority: Is the site well regarded, cited, and written by experts in the field?
• Educational Value: Does the site content help advance educational goals?
• Intent: Is the site a well-respected source of content intended to inform users?
• Originality: Is the site a source of original content and viewpoints?
• Quality: Is the site highly vetted with good coverage of the topical area?
These criteria are evaluated along a numerical scale anchored by an explicit call out to “credibility,” a move to make the
scores more informative for students.
Instructors and students who use SEER can quickly arrive at an easy-to-interpret score based on the commonly used
4.0 grade point scale. By adding up all criteria values and dividing by five, users will generate a readily-understandable
grade for sources. If so desired, the weighting of the criteria can also be adjusted to reflect varying evaluation-directed
objectives (see the accompanying SEER Worksheet in the appendix).
• 3.0 - 4.0: highly credible, quality sources
• 2.0 – 3.0: credible sources
• 1.0 – 2.0: questionable sources
• 0.0 – 1.0: unacceptable or inappropriate sources
The rubric, in its entirety, appears below. Following the rubric are a few examples of sites and how instructors have
scored them.
Downloads
Tuesday, 28 December 2021
The Ministry of Utmost Happiness
The Ministry of Utmost Happiness - A Novel by Arundhati Roy
General Observations about the Novel - 'The Ministry of Utmost Happiness'
The Ministry of Utmost Happiness is a curious beast: baggy, bewilderingly overpopulated with characters, frequently achronological, written in an often careless and haphazard style and yet capable of breathtakingly composed and powerful interludes. The idea that the personal is political and vice versa informs its every sentence, but it also interrogates that assumption, examining its contours and consequences (Alex Clark, The Guardian).
The Ministry of Utmost Happiness takes us on an intimate journey across the Indian subcontinent—from the cramped neighborhoods of Old Delhi and the roads of the new city to the mountains and valleys of Kashmir and beyond, where war is peace and peace is war. Braiding together the lives of a diverse cast of characters who have been broken by the world they live in and then rescued, patched together by acts of love—and by hope, here Arundhati Roy reinvents what a novel can do and can be (Penguin Random House).
Is novel the right word, though? I hesitate. The Ministry of Utmost Happiness, hulking, sprawling story that it is, has two main strands. One follows Anjum, a hijra, or transwoman, struggling to make a life for herself in Delhi. The other follows Tilo, a thorny and irresistible architect turned activist (who seems to be modeled on Roy herself), and the three men who fall in love with her (Parul Sehgal, The Atlantic).
Intertextual references to other writers in the novel
The novel is divided into twelve chapters of varying lengths, unevenly distributed into six sections, each introduced by a short epigraph. The six quoted authors were all poets or writers who held strong, dissident political views, who rebelled against persecution, who refused submission and compromise. Tormented by institutional violence, censored, imprisoned, some were forced to flee into exile, and some were killed. Others were discriminated against for their skin colour, and/or their sexual orientation and gender “indeterminacy”. All were resolutely insubordinate.
They can all be counted among the “Unconsoled” to whom the novel is dedicated, and whose “Minister”, Hazrat Sarmad Shaheed, symbolises the refusal to submit to any authority other than one’s conscience, one’s intellectual and spiritual integrity.
1. The first epigraph (“I mean, it’s all a matter of your heart”) was taken from Nâzim Hikmet’s poem “On the Matter of Romeo and Juliet”. [ यानी सारा मामला दिल का है... नाज़िम हिकमत ]
2. The second epigraph quotes Pablo Neruda’s last book, Libro de las Preguntas (The Book of Questions), published posthumously in 1974 - “In what language does the rain fall / on tormented cities?”
[ बारिश किस भाषा में गिरती है
यातनाग्रस्त शहरों के ऊपर ? - पाब्लो नेरुदा ]
3. The third epigraph (141) quotes the first line of one of Agha Shahid Ali’s Kashmiri poems, “Death flies in, thin bureaucrat, from the plains”, a fit frame for the third “section”, narrated by “The Landlord”, a cold and somewhat cynical servant of the State.
[ मौत एक छरहरी नौकरशाह है, मैदानों से उड़कर आती हुई - आग़ा शाहिद अली ]
4. The fourth epigraph is by Jean Genet, whose novel Notre-Dame-des-Fleurs (written while its author was serving a prison sentence in Fresnes, in 1942) is quoted three times - "Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death." (Our Lady of the Flowers by Jean Genet, translated by Bernard Frechtman).
[ क्योंकि वह पहले चार या पाँच बार मर चुकी थी,
अपार्टमेंट उसकी मृत्यु से भी ज़्यादा गंभीर
किसी नाटक के लिए उपलब्ध था। - ज्याँ जेने ]
5. The fifth epigraph is quoted from James Baldwin’s essay entitled “Down at the cross. Letter from a Region in my Mind”, which offers a set of reflexions on race relations in the USA, many of which, alas, would still be relevant nowadays. When read in the light of caste relations in India, many of those reflexions also seem perfectly relevant - "And they would not believe me precisely because they would know that what I said was true." - from The Fire Next Time by James Baldwin.
[ और वे मेरी बात पर सिर्फ़ इस वजह से यक़ीन नहीं करते थे की
वे जानते थे कि मैंने जो कुछ कहा था वह सच था। - जेम्स बाल्डविन ]
6. The final epigraph used by Roy is a quotation from Nadezhda Mandelstam’s first volume of memoirs, Hope Against Hope, in which Osip Mandelstam’s widow narrates his tragic fate. -
"Then there was the changing of the seasons. ‘This is also a journey,’ M said, ‘and they can’t take it away from us.’ - (translated by Max Hayward) [ फिर मौसमों में परिवर्तन हुआ। 'यह भी एक यात्रा है,' एम ने कहा, 'और इसे वे हमसे छीन नहीं सकते।' - नादेज्दा मान्देल्स्ताम ]
[To read more details on this click here How to Recruit Art and Intertexts in the Battle against “Stupidification” by Catherine Pesso-Miquel]
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'
- Timely but not deserving of the Booker
- How to recruit Art and Intertexts in the battle against 'stupidification
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