Saurashtra University Re – Accredited Grade ‘B’ by NAAC (CGPA 2.93)
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Bhasha Bhavana (Institute of Language and Literature)
OBJECTIVES AND OUTCOMES Bhasha Bhavana (Institute of Language and Literature) Department of Assamese Course Code 152 CERTIFICATE OF PROFICIENCY EXAMINATION IN ASSAMESE LANGUAGE CERTIFICATE OF PROFICIENCY- A TWO YEAR COURSE Programme objectives: Language departments of Bhasha-Bhavana offer 2 years Certificate Course for non-native speakers of that particular language. The primary objective of this course is to introduce various literature and culture of different communities and states via languages. Course Objectives: The Certificate Course in Assamese has been designed to make non-Assamese learners adept in reading, understanding, speaking and writing. To make the learners skilled in Assamese the basic grammar and prose- poetry has been introduced in two papers- (i) grammar and (ii) texts. The third paper is based on oral skill or language speaking practice. Programme Specific Objectives: The Certificate Course in Assamese is a course for non-native speakers and has been planned to make the learners attracted for learning, reading, understanding, writing and speaking Assamese and translating from Assamese to their respective mother languages. M.A. in comparative literature Course Objectives: To introduce Assamese language, literature & culture, its structure, genres, characteristics to the Comparative Literature MA students, who are non-native speakers of Assamese is the objective of this course. Programme Specific Objectives: To make the students skilled in understanding, reading, writing, speaking and also translating from Assamese is intended after completion of this course. The course has four papers in each semester and each paper has four section or groups of contents including 20% marks for internal assessment. The First Paper is of Introduction to the history of Assamese language and languages of Assam, Structure of Assamese, Writing and Reading Assamese and Spoken Assamese. -
DIASPORA and IDENTITY in the SELECTED POEMS of MEENA ALEXANDER Pooja Kushwaha Research Scholar Department of English and M.E.L
International Journal of Engineering Applied Sciences and Technology, 2020 Vol. 5, Issue 5, ISSN No. 2455-2143, Pages 100-104 Published Online September 2020 in IJEAST (http://www.ijeast.com) DIASPORA AND IDENTITY IN THE SELECTED POEMS OF MEENA ALEXANDER Pooja Kushwaha Research Scholar Department of English and M.E.L. University of Lucknow, Lucknow, Uttar Pradesh, India. Abstract- On the literary map of Indian women writings, The new poetry has emerged as a new awareness. Modern Meena Alexander appears to be leading woman poetess. Indian poetry finds one of its authentic voices in English. It The question of identity is the most controversial issue in is enriched by the experiences of Diaspora writers. It postcolonial time and literature and it can be regarded the represents the complexity of Indian experience poetry. The most important because its crisis exists in all postcolonial women poets of Indian Diaspora have migrated to and settled communities. She negotiates with the issue of ‘Diaspora’ in various countries like USA, Australia, Denmark, England and ‘Identity’ in almost all her writings. Meena and Germany. They are living in foreign country. The Alexander is always in an experiment on the issues of contribution of contemporary Indian women poets in English ‘Diaspora’ and ‘Identity’ in her creative oeuvre. This represent the range of their talent. The contemporary women paper endeavors to explore her postcolonial journey and poets show the Indian womanhood and emphasize on the her views of making a home, a living one and a literary search of identity. The new poets carry wounds in their one, and an individual identity of her own through her hearts. -
Profile/ Curriculum Vitae
BANKURA UNIVERSITY FACULTY ACADEMIC PROFILE/ CURRICULUM VITAE 1. Name: Dr. SUBHADEEP PAUL 2. Designation: ASSISTANT PROFESSOR 3. Date of Birth : 15/10/1980 4. Specializations: Postcolonial & New Literatures, Multiculturalism and multicultural literature, Indian Writing in English, American Literature, Diaspora Studies, Cultural Representations of Hollywood, Cultural and Literary Gerontology, Literature and Trauma, Literature of the Border, Posthumanism and critical appropriations of Futurism. 5. Contact Information: Contact Address: P19 Raipur. Flat A1. P.O. Garia. Kolkata – 700084. W.B., India. Email: [email protected] 6. Academic qualifications: College/ University from which the Abbreviation of the degree degree was obtained St. Xavier’s College, University of B.A. Calcutta Jadavpur University M.A. Jadavpur University M. Phil Jadavpur University Ph. D 7. Past Employments/ Academic Experience: Assistant Professor in English, Maulana Azad College, Kolkata, West Bengal Educational Service (W.B.E.S.) from 2009 to 2015. 8. Research Interests: Studies of the Orient and the Occident Cultural Theory Scottish Studies Critical Reflections on Popular Culture 21st Century Shakespeare Studies Ethics Creative Writing (Fiction and Poetry) Page 1 of 6 9. Research Guidance / Supervision: Number of researchers pursuing M.Phil. / Ph.D.: 02 10. Research Projects: Current projects: Co-Director of ongoing ICSSR Two Year Major Research Project entitled “Discoursing the Homeless Elderly: Tropes, Desires, Containment” (In Collaboration with The University of Swansea, UK), 2016-2018 [Awaiting Award]. Research Guidance: 1. Smt. Nabanita Karanjai (Ph. D Candidate) – “The Ontology of the Human Subject in the Digital Age: A Posthumanist Analysis of Select Literary Works” (ongoing). 2. Shri. Abhishek Das (Ph. D Candidate) – “Representation of Muslims in Select Pakistani Diasporic Fiction: A Critical Study” (ongoing). -
Uhm Phd 9519439 R.Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality or the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. MI48106·1346 USA 313!761-47oo 800:521-0600 Order Number 9519439 Discourses ofcultural identity in divided Bengal Dhar, Subrata Shankar, Ph.D. University of Hawaii, 1994 U·M·I 300N. ZeebRd. AnnArbor,MI48106 DISCOURSES OF CULTURAL IDENTITY IN DIVIDED BENGAL A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 1994 By Subrata S. -
Leto Imenovalnik Rodilnik Dajalnik 1988 Nelson Rolihlahla Mandela
Leto Imenovalnik Rodilnik Dajalnik Nelson Rolihlahla Mandela Nelsona Rolihlahle Mandele Nelsonu Rolihlahli Mandeli 1988 Anatolij Marčenko Anatolija Marčenka Anatoliju Marčenku 1989 Aleksander Dubček Aleksandra Dubčka Aleksandru Dubčku 1990 Aung San Su Či Aung San Su Či Aung San Su Či 1991 Adem Demaçi Adema Demaçija Ademu Demaçiju (gibanje) Matere z Majskega Mater z Majskega trga (gibanja Materi z Majskega trga (gibanju 1992 trga (Madres de Plaza de Madres de Plaza de Mayo) Madres de Plaza de Mayo) Mayo) 1993 Oslobođenje Oslobođenja Oslobođenju 1994 Taslima Nasrin (ž) Taslime Nasrin Taslimi Nasrin 1995 Lejla Zana (ž) Lejle Zana Lejli Zana 1996 Wei Jingsheng (m) Wei Jingshenga Wei Jingshengu 1997 Salima Ghezali (ž) Salime Ghezali Salimi Ghezali 1998 Ibrahim Rugova Ibrahima Rugove Ibrahimu Rugovi 1999 Xanana Gusmão (m) Xanane Gusmãa Xanani Gusmãu 2000 (gibanje) ¡BASTA YA! gibanja Basta Ya gibanju Basta Ya Izat Ghazavi (m) Izata Ghazavija Izatu Ghazaviju 2001 Nurit Peled-Elhanan (ž) Nurit Peled-Elhanan Nurit Peled-Elhanan dom Zacarias Kamwenho (m) dom Zacariasa Kamwenha dom Zacariasu Kamwenhu Oswalda Joséja Payája 2002 Oswaldo José Payá Sardiñas Oswaldu Joséju Payáju Sardiñasu Sardiñasa generalni sekretar Združenih 2003 narodov Kofi Anan in celotno Kofija Anana Kofiju Ananu osebje Združenih narodov Belorusko združenje 2004 Žane Litvine Žani Litvini novinarjev (Žana Litvina) (gibanje) Dame v belem Dam v belem Damam v belem (Damas de Blanco) 2005 (gibanja Damas de Blanco) (gibanju Damas de Blanco) Hauva Ibrahim (ž) Hauve Ibrahim Hauvi Ibrahim -
List of Documentary Films Produced by Sahitya Akademi
Films Produced by Sahitya Akademi (Till Date) S.No. Author Directed by Duration 1. Amrita Pritam (Punjabi) Basu Bhattacharya 60 minutes 2. Akhtar-ul-Iman (Urdu) Saeed Mirza 60 minutes 3. V.K. Gokak (Kannada) Prasanna 60 minutes 4. Takazhi Sivasankara Pillai (Malayalam) M.T. Vasudevan Nair 60 minutes 5. Gopalkrishna Adiga (Kannada) Girish Karnad 60 minutes 6. Vishnu Prabhakar (Hindi) Padma Sachdev 60 minutes 7. Balamani Amma (Malayalam) Madhusudanan 27 minutes 8. Vinda Karandikar (Marathi) Nandan Kudhyadi 60 minutes 9. Annada Sankar Ray (Bengali) Budhadev Dasgupta 60 minutes 10. P.T. Narasimhachar (Kannada) Chandrasekhar Kambar 27 minutes 11. Baba Nagarjun (Hindi) Deepak Roy 27 minutes 12. Dharamvir Bharti (Hindi) Uday Prakash 27 minutes 13. D. Jayakanthan (Tamil) Sa. Kandasamy 27 minutes 14. Narayan Surve (Marathi) Dilip Chitre 27 minutes 15. Bhisham Sahni (Hindi) Nandan Kudhyadi 27 minutes 16. Subhash Mukhopadhyay (Bengali) Raja Sen 27 minutes 17. Tarashankar Bandhopadhyay (Bengali) Amiya Chattopadhyay 27 minutes 18. Vijaydan Detha (Rajasthani) Uday Prakash 27 minutes 19. Navakanta Barua (Assamese) Gautam Bora 27 minutes 20. Mulk Raj Anand (English) Suresh Kohli 27 minutes 21. Gopal Chhotray (Oriya) Jugal Debata 27 minutes 22. Qurratulain Hyder (Urdu) Mazhar Q. Kamran 27 minutes 23. U.R. Anantha Murthy (Kannada) Krishna Masadi 27 minutes 24. V.M. Basheer (Malayalam) M.A. Rahman 27 minutes 25. Rajendra Shah (Gujarati) Paresh Naik 27 minutes 26. Ale Ahmed Suroor (Urdu) Anwar Jamal 27 minutes 1 27. Trilochan Shastri (Hindi) Satya Prakash 27 minutes 28. Rehman Rahi (Kashmiri) M.K. Raina 27 minutes 29. Subramaniam Bharati (Tamil) Soudhamini 27 minutes 30. O.V. -
4.3 Dilip Chitre's Poem “Ode to Bombay”
Indian English Poetry UNIT 4 DILIP CHITRE AND KEKI N. DARUWALLA Structure 4.0 Objectives 4.1 Introduction 4.2 Dilip Chitre: An Introduction 4.3 Dilip Chitre’s Poem “Ode to Bombay” 4.4 Keki N. Daruwalla: An Introduction 4.5 Keki N. Daruwalla’s Poem “Chinar” 4.6 Let Us Sum Up 4.7 Questions 4.8 References 4.9 Suggested Readings 4.0 OBJECTIVES The unit is meant to acquaint you with the phenomenon of the 1980s and 90s in India’s cultural life in general and Indian poetry in particular. In the context, the poets analyzed in the present unit speak of the concerns of this era as life became increasingly opportunity-centric and literature looked inwards to point at its own incapacities. Dilip Chitre and Keki N. Daruwalla are the poets we shall be focusing upon in this unit. You would be able to notice in the poems analyzed here a shift in thematic concerns and change of the poetic style. Importantly, during the period, disillusionment among poets turned to cynicism as there was little that inspired writers. They took for expressing ordinary themes and wistfully looked at life. 4.1 INTRODUCTION As has been mentioned in the previous units, Indian English Poetry became more and more self-oriented in the post-Independence period. It turned to self- interrogation and focused on creating an identity for it, particularly distancing itself from the concerns of the poor and deprived. Indian English poetry tried to emulate the western literary trends and chose to merge with what was considered mainstream writing. -
Art, Violence and Ethnic Identity in Meena Alexander's Manhattan Music
Art, Violence and Ethnic Identity in Meena Alexander’s Manhattan Music 149 Izabella Kimak “A Bridge !at Seizes Crossing”: Art, Violence and Ethnic Identity in Meena Alexander’s Manhattan Music Meena Alexander, an American writer born in India and now living in New York City, in all of her creative work exhibits a sensitivity to the experience of cross- ing borders, which entails the need to form new, hybrid identities and to learn to juggle not only diverse cultures but diverse languages as well. In comparison to other women writers of the South Asian diaspora in the US, such as Bharati Mukherjee and Jhumpa Lahiri, Alexander has been somewhat overlooked by general readers, although her writing has received substantial praise from critics, especially those of Indian provenance. However, scholarly attention so far has mostly been paid to Alexander’s poetry and memoir at the expense of her two !ctional texts: Nampally Road (1991), set in India, and Manhattan Music (1997), oscillating between Kerala and New York. In the latter novel, as well as in her poetry and memoir, Alexander explores the experience of immigration with its ensuing feelings of uprootedness and displacement. In this respect, Alexander’s thematic interests seem to coincide with those of other writers of the South Asian diaspora in the US,1 but this apparent similarity is in fact somewhat misleading. With its carefully cra"ed language and its elaborate structure, Manhattan Music 1 #is fact is stressed by numerous scholars who have attempted to characterize South Asian American literature as a unique body of writing ever since “Indians, whether as South Asians or as diasporic Indians, acquired a distinct literary identity” (Gurleen Grewal 91) in the 1990s. -
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ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 43 The poster of Zabak (1961) directed by Homi Wadia. Out of Sight: Archiving Hidden Histories of Practice Debashree Mukherjee All photographs courtesy Priya Paul Our understanding of Indian cinema would remain incomplete until we acknowledged its supporting cast of hairdressers, poster painters, costume designers, still photographers, makeup artists and numerous other specialists invisible to the public eye. In January 2013, Debashree Mukherjee curated an exhibition of Hindi film memorabilia titled ‘Maya Mahal’, which featured artefacts from the private collection of Priya Paul, Chairperson of Apeejay Surrendra Park Hotels. In this essay, Mukherjee uses examples from the collection to point to hidden histories of work and practice, and to give us a fragmented view of low-budget films, lost genres and the wage-workers who mark each film with their individual skills. ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 44 ArtConnect: The IFA Magazine, Volume 7, Number 1 eterodox in its scope and the elemental contract of cinema range, Priya Paul’s itself: to deliver sensory excitement, Hcollection of film voyeuristic delight and magical memorabilia represents an eccentric worlds. Thus, the exhibition mix of films. There are archives larger showcased genres, practitioners and than this, there are archives that are aesthetics that are often forgotten in more systematic, but the pleasure of a bid to celebrate auteurs and ‘classics’. serendipity springs from This is an alternative history of juxtaposition, not from order and Hindi cinema—one that is decidedly expanse. Comprising approximately excessive, melodramatic, even 5,000 paper artefacts, the Priya Paul utopian. -
Women Novelists in Indian English Literature
WOMEN NOVELISTS IN INDIAN ENGLISH LITERATURE DR D. RAJANI DEIVASAHAYAM S. HIMA BINDU Associate Professor in English Assistant Professor in English Ch. S. D. St. Theresa’s Autonomous College Ch. S. D. St. Theresa’s Autonomous for Women College for Women Eluru, W.G. DT. (AP) INDIA Eluru, W.G. DT., (AP) INDIA Woman has been the focal point of the writers of all ages. On one hand, he glorifies and deifies woman, and on the other hand, he crushes her with an iron hand by presenting her in the image of Sita, the epitome of suffering. In the wake of the changes that have taken place in the society in the post-independence period, many novelists emerged on the scene projecting the multi-faceted aspects of woman. The voice of new Indian woman is heard from 1970s with the emergence of Indian English women novelists like Nayantara Sehgal, Anitha Desai, Kamala Markandaya, Ruth Prawer Jhabvala, Arundhati Roy, Shashi Deshpande, Gita Mehta, Bharathi Mukherjee, and Jhumpha Lahiri.. These Feminist writers tried to stamp their authority in a male dominated environment as best as it is possible to them. This paper focuses on the way these women writers present the voice of the Indian woman who was hitherto suppressed by the patriarchal authority. Key words: suppression, identity, individuality, resistance, assertion. INTRODUCTION Indian writers have contributed much for the overall development of world literature with their powerful literary expression and immense depth in characterization. In providing global recognition to Indian writing in English, the novel plays a significant role as they portray the multi-faceted problems of Indian life and the reactions of common men and women in the society. -
Chapter-Ii Journey of Women Novelists in India
CHAPTER-II JOURNEY OF WOMEN NOVELISTS IN INDIA 2.1 Preliminaries This chapter deals with the study of „novel‟ as a popular literary genre. It traces the advent of the novel in India which is a product of colonial encounter. Essentially dominated by male writers, women‟s writings in the past were looked down upon as inconsequential. Literary contributions by Indian women writers were undervalued on account of patriarchal assumptions which prioritized the works of male experiences. For many women writers, who are products of strong patriarchal cultures, ability to write and communicate in the language of the colonizers represents power. Since English is the language of British-ruled colonies, literature written in English has often been used to marginalize and thwart female point of view. But in the post-colonial era, however, the ability to use language, read, write, speak and publish has become an enabling tool to question the absence of female authorial representation from the literary canon. Post-colonial studies sparks off questions related to identity, race, gender and ethnicity. Since one of the objectives of the post-colonial discourse is aimed at re- instating the marginalized in the face of the dominant some of the aspects it seeks to address through its fictions are those related to women‟s status in society, gender bias, quest for identity among others. As Rosalind Miles remarks, The task of interpretation of women‟s experience cannot be left to male writers alone, however sympathetic they might be. The female perspective expressed through women‟s writings of all kinds is more than a valuable corrective to an all-male view of the universe.1 Taking this argument into consideration, the present chapter will very briefly study the works of women novelists in India. -
Introduction
I INTRODUCTION The objective of the thesis has been to explore the rootlessness in the major fictional works of V.S. Naipaul, the-Trinidad-born English author. The emphasis has been on the analysis of his writings, in which he has depicted the images of home, family and association. Inevitably, in this research work on V.S. Naipaul’s fiction, multiculturalism, homelessness (home away from home) and cultural hybridity has been explored. Naipaul has lost his roots no doubt, but he writes for his homeland. He is an expatriate author. He gives vent to his struggle to cope with the loss of tradition and makes efforts to cling to the reassurance of a homeland. Thepresent work captures the nuances of the afore-said reality. A writer of Indian origin writing in English seems to have an object, that is his and her imagination has to be there for his/her mother country. At the core of diaspora literature, the idea of the nation-state is a living reality. The diaspora literature, however, focuses on cultural states that are defined by immigration counters and stamps on one’s passport. The diaspora community in world literature is quite complex. It has shown a great mobility and adaptability as it has often been involved in a double act of migration from India to West Indies and Africa to Europe or America on account of social and political resources. Writers like Salman Rushdie, RohingtonMistry, Bahrain Mukherjee, and V.S. Naipaul write from their own experience of hanging in limbo between two identities: non-Indian and Indian.