Hello ! I am Janvi Nakum. I study in English Literature and Master Degree at Department of English, Maharaja Krishnakumarsinhji Bhavnagar University. I have completed my Graduation in s
Samaldas Arts College, Bhavnagar. I write blogs for academic propose and improv my English language.
1) Read - The Reader’s Digest Book of English Grammar and Comprehension for Very Young Children By S. Tilottama - Give answers to the questions asked regarding any three stories. Questions are given at the end of each story.
💥Frist Story (The Old Man & His Son)
1.Why did the villagers cry more for the shambling wreck?
👉The villager cry more for the shambling wreck because Ahmed Ganai was killed.
2. Why did the wreck shamble?
👉Wreck Shamble because his boy was killed.
💥News
Why did the cattle cross the LoC?
C. Neither of the above
💥The Careerist
Who did the boy expect to be killed by ?
A. The Army
💥The Nobel Prize Winner
Q.1 Why was Mattoo shot?
A. because he was a Hindu
Q.2 Who could the unknown gunman have been?
A . Islamist militant who thought all kafirs should be killed
2) Three points mentioned in the photo of board-work.
1. List of Character
Mulakat Ali
Jahanara Begam
Aftab or Anjum
Temujn
Changez khan
Brote Khatum
Hazrat Sarmad
Kulsoom Bi
Bombay silk
Mary
Gudija Bulbul
Bismillah (Bimla)
Razia
Nimmo
Abhay Chand
Saeeda
Ziauddin - Blind imam
Zainab - a baby
Zakir mia
Gupta
Saddam Hussein ( Daya Chand)
Biplab Dasgupta
Chitra
Rabia
Amia
Captain Amrik Singh
lovleen singh (Wife)
ACP Pinky Sodhi
Balbir Sodhi
S. Tilottama Nagraj Hariharan
Musa Yeswi
Arifa (wife)
Jebeen( daughter)
Khadija Aijaz
Jebeen the second
Revathy ( comrade)
Udaya (Maase)
Dr. Azad Bhartiya
Jalil Qadri
2.Summary
"The Ministry of Utmost Happiness" is a novel by Arundhati Roy that tells the story of several characters living in India, primarily in Delhi and Kashmir. The novel is structured non-linearly, with multiple storylines and flashbacks that interconnect throughout the book.
The main protagonist of the story is Anjum, a transgender woman who was born as Aftab. Anjum runs a guesthouse in Delhi that becomes a central meeting point for the other characters. She meets Tilo, a former student activist, who becomes her close friend and confidante. Musa, a Kashmiri militant, is introduced through Tilo's story and becomes her love interest. Saddam Hussein, a young boy, becomes friends with Tilo and Anjum and accompanies them on their journeys.
The novel is also concerned with the conflict in Kashmir. Musa's story represents the struggle for independence and autonomy that has been going on in Kashmir for decades. Anjum's own journey takes her to Kashmir, where she encounters a group of women who have been raped and tortured by the Indian army. The stories of these women are woven into the larger narrative of the novel, highlighting the pervasive violence and injustice that is inflicted upon the people of Kashmir.
Throughout the novel, there are many flashbacks and stories that provide context for the characters' experiences and motivations. The narrative structure of the book is intentionally fragmented, reflecting the disjointed experiences of the characters and the broader political landscape of India. The nonlinear structure also allows Roy to explore different themes and ideas in a nonlinear fashion, highlighting the complexity and interconnectedness of the characters' lives.
In addition to the themes of gender identity, love, and political activism, "The Ministry of Utmost Happiness" also explores the intersections of class, religion, and caste in Indian society. Anjum's experiences as a hijra (transgender) person highlight the ways in which marginalization and discrimination intersect with other forms of social inequality. Tilo's story, meanwhile, highlights the ways in which religion and caste can be used to divide people and perpetuate oppression.
The novel concludes with a sense of hope and resilience, with the characters continuing to fight for justice and dignity in the face of overwhelming odds. While the issues explored in the novel are complex and often bleak, Roy ultimately suggests that there is hope for change, as long as people are willing to continue the struggle for justice and freedom. Overall, "The Ministry of Utmost Happiness" is a powerful and poignant novel that explores the complexities of life in contemporary India.
3.Fact and Fiction
Mr. Aggarwal 🠆Arvind Kejriwal
Trapped Rabbit🠆 Manmohan Singh
Gujarat's Beloved (Lalla) 🠆 Narendra Modi
Lisping Poet Prime Minister🠆 Atal Bihari Vajpayee
Tubby old Gandhian🠆 Anna Hazare
Gujrat Riots 2002 🠆 In the novel Anjum and Zakir Mian travel to Ahmedabad, Gujarat during 2002 Riots in reaction to Godhra train coach burning in which 56 pilgrims died.
Una Case🠆 In the novel Saddam Hussein (Daya Chand) refers to Una flogging of Dalit - chamars by Cow - Vigilantes.
3) Write about any one theme or character of the novel with the help of Chat OpenAI GPT. Ask to Chat GPT and put screenshot as well as copy-paste the answer generated by this response generator.
1.Munira had come from a vigil on the mountain when the police come for him, saying he is wanted at the Ilmorog police station for questioning about recent murders.
2. Abdulla is also approached, and he is locked in a cell at the station.
3. Wanja is at the hospital and a doctor says the police cannot see her because she is delirious.
4. Karega is asleep when the police come and bring him to the station. People gather outside, thinking he is in trouble for last night’s decision to strike, but the police say it is about murder.
5. The headline reads that Mzigo, Chui, and Kimeria, African directors of the Theng’eta Breweries and Enterprises Ltd., were burnt to death last night, and murder is suspected.
🠊 He grew up in Delhi in a Punjabi family in an uncertain home environment where his parents used to fight a lot. His father, an army officer, was very strict and he wasn’t allowed to watch television or films.
🠊 So, Chetan and his brother used to make up movie stories and perhaps that’s where this tact of writing all sprangup.
🠊 Bhagat attended Army Public School (1978-1991), Dhaula Kuan, New Delhi.
🠊 He studied Mechanical Engineering at the Indian Institute of Technology (IIT), Delhi (1991-1995), and then studied at the Indian Institute of Management (IIM), Ahmadabad (1995-1997).
Chetan Bhagat is the author of blockbuster novels
Five Point Someone (2004)
One Night @ the Call Center (2005)
The 3 Mistakes Of My Life (2008)
2 States (2009)
Revolution 2020 (2011)
Half Girlfriend (2014)
One Indian Girl (2016)
The Girl In Room 105 (2018)
One Arranged Murder (2020).
All nine books have remained best sellers since their release. He now brings you his latest novel, 400 Days, a thriller that will keep you hooked until the end.
R Ǝ𝑽O⅃ ution Twenty 20
1) Social realism in the novel ?
⮞The novel is social realism, which is a style of writing that aims to portray the lives of ordinary people in a realistic and often critical manner. The novel portrays the corruption, casteism and the political scenario of India and how it affects the lives of the common people. The novel also explores the impact of the rising tide of technology and globalization on Indian society.
2) Significance of the title 'Revolution Twenty20'?
⮞The title "Revolution Twenty20" likely refers to a revolution or significant change happening within the context of the sport of cricket, specifically in relation to the Twenty20 format of the game. Twenty20 is a shorter, more fast-paced version of cricket that has become increasingly popular in recent years. The term "revolution" suggests that this change is significant and transformative. It could refer to a change in the way the game is played, new rules, or a different approach to the sport. Without more information, it is difficult to say for certain what the specific significance of the title is.
3) Do you think that an opportunity of a good novel is wasted because the story is told from Gopal's perspective? Can it be better if narrated from Raghav or Aarti's perspective? How would it be better if it was narrated from Raghav or Aarti's perspective?
⮞In the novel Revolution 2020 by Chetan Bhagat, the story is primarily told from the perspective of Gopal. However, it is possible that telling the story from Raghav or Aarti's perspective could provide different insights and offer a more comprehensive understanding of their motivations and experiences.
If the story were to be narrated from Raghav's perspective, readers would get an inside look at his struggles and aspirations as a journalist and his conflict with corruption in the education system. This perspective could add depth to the character and provide readers with a more in-depth understanding of the themes of corruption and social injustice that the novel explores.
Similarly, if the story were to be narrated from Aarti's perspective, readers could get a better understanding of the emotional struggles and pressures she faces as a young woman in a conservative society. This perspective could also provide a deeper insight into the themes of love, ambition, and sacrifice that are prevalent in the novel.
However, it is essential to note that the choice of the perspective depends on the author's intention and the story's objective. Telling the story from a different character's perspective may not necessarily make it better, as the author may have had specific reasons for choosing a particular character's viewpoint.
In conclusion, while telling the story from a different character's perspective could provide different insights and depth, it ultimately depends on the author's intention and the story's objective.
This blog is about Thinking Activity on. articles presentations about comparative literature and Translation studies. This task is assigned by Prof. Dr. Dilip Barad sir, Head of the English Department of Maharaja Krishnakumarsinhji Bhavnagar University (MKBU). As a part of the syllabus, students of English department are learning the paper called Comparative literature and translation studies.
Shifting Centres and Emerging Margins : Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry
1
For the purpose of our discussion, it may be broadly stated that 'modernity designates an epochal period of wide-ranging transformations brought about by the advent of colonialism, capitalist economy, industrial mode of production. Western models of education, assimilation of ration temper, resurgence of nationalist spirit and emergence of social political, legal, juridical and educational institutions that constituted a normative subjectivity embodied with cosmopolitan and individualist world views.
It has also been argued that such a modular modernity, as envisaged in Western terms, brought about a rupture in the social and cultural life of India, separating its 'modern period' from what was 'pre- modern'. Such a view may be disputed but it can be convincingly shown that the dynamics of literary expression and the apparatus of cultural transmission came to be redefined in the 'modern' period.
The project of modernity in India was implicated in colonialism and imperialism. This colonial modernity informed literary and cultural movements, beginning from the reformist movement of the nineteenth century to the modernist movement of the mid-twentieth century. The modernist revolt in India was a response to the disruptions brought about by colonial modernity.
💫As Dilip Chitre observes, 'what took nearly a century and a half to happen in England, happened within a hurried half century' in Indian literatures (1967, 2). The breaching of entrenched traditions resulted in a crisis which had to be tackled creatively by resorting to the resources of alien traditions.
💫B. S. Mardhekar, a major Marathi modernist, Chitre says. The poet B. S. Mardhekar was the most remarkable product of the crow pollination between the deeper, larger native tradition and contemporary world culture'.
💫D. R. Nagaraj adds When ideologies like nationalism and spirituality become apparatuses of the state, a section of die intelligentsia has no option other than seek refuge in bunkers of individualism'.
2. The term 'modernism' implies a literary/artistic movement
That characterised by experimentation, conscious rejection of the national Romantic as well as the popular, and the cultivation of an individual Cosmopolitan and insular world view In the European context signified a set of tendencies in artistic expression and writing style the late nineteenth and early twentieth centuries through a new aesth that was iconoclastic, insular and elitist.
The aesthetics of modernism the West had a transnational, metropolitan world view that excl the claims of the local and the national and made no concession to popular taste. While the modernism that emerged in Indian litera shared many of these defining features, its political affiliations ideological orientations were markedly different.
Due to its postcolonial location, the Indian modernism did not share the imperi metropolitan aspirations of its European counterpart. It invested h in regional cosmopolitan traditions. It was oppositional in content and questioned the colonial legacies of the nationalist discourse. It was and formalistic and deeply distrustful of the popular domain.
Chronologically in Indian languages, modernism manifests itself in the second ha Twentieth century. dimension to the aesthetic of Indian modernism. How ar The postcolonial context adds a complex evaluate the modernisms that emerged in the postcolonial India? Critics such as Simon Gikandi, Susan Friedman, Laur and Laura Winkiel, and Aparna Dharwadker have argued.
Western modernisms are not mere derivative versions of a European hegemonic practice. The emergence of modernism in societies in Asia, Africa or Latin America cannot be seen in terms of a European centre and non-European peripheries. The Eurocentric nature of the discourse on modernism can be laid bare only by documenting the 'modernisms that emerged in non-Western societies.
The emerging problematic will have to contend with issues of ideological differences between the Western modernism and the Indian one, the different trajectories they traversed as a result of the difference in socio- political terrains and the dynamics of the relations between the the present in the subcontinent, which has a documented history of more past and than five thousand years. The problematic that informs this argument is manifest in the critiques of Eurocentric accounts of modernism by Gikandi, Friedman, Doyle and Winkiel, and Rebecca L. Walkowitz in different ways.
3. The reception of Western modernist discourses in India was mediated
In the context of Bengal as Amiya Des has observed, 'It was not because they imbibed modernism that the ad [modernist) Bengali writers turned away from Rabindranath; ou the contrary, Modernism was the means by which they turned away from Rabindranath and they had to turn away, for their history demanded it
Commenting on the role of Kannada modernists. R. Sasidhar writes
If European modernism was drawn between the euphoric and the reactive in Kannada the precipitate modernism was drawn between the Brahminical and the non-Brahminical, Just as the cuphone and the reactive modernisms were part of the internal dynamics of modernism aselt, so also the Brahmanical and the non-Brahmanical modernisms in Kannada were part and parcel of a modernism that came as a reaction to the Nehruvian environment. (in Satchidanandan 2001, 34)
Issues of caste, ethnicity, progress, freedom, individualism, region and nation figure variously in different modernist traditions in India. The presence of a father-figure, like that of Tagore in Bengali, is a fact that is not relevant to the development of Kannada or Malayalam modernism.
4
Translation enables us to delineate the complex artistic and ideological undercurrents that shaped the course of modernism in Indian literatures. To discuss this, we will look at three representative modernist authors from three separate Indian literary traditions Sudhindranath Dutta. (1901-60) from Bengali, B. S. Mardhekar (1909-56) from Marathi and Ayyappa Paniker (1936-2004) from Malayalam. These authors help us see the chronological trajectory of modernism across Indian literatures. While the modernist shift in Bengali emerged in the 1930s and continued into the 40s and 50s, it manifested itself in Marathi from the 1950s to the 60s. It was in the 1960s that the Malayalam literary sensibility was transformed into the modernist mould, its influence slowly waning by the late 70s, though by that time, it had redefined the relations between content and form in all literary forms.
Translation is central to the modernist poetic as it unfolded in these literary traditions. Each of these three authors was bilingual and wrote essays in English as well as their own languages, outlining their new poetic, thus preparing the reader for new poetic modes. Their essay elaborated the basic features of a new aesthetic against the prevailing Romantic-nationalist or Romantic-mystical traditions. Sudhindranat Dutta translated Stéphane Mallarmé and Paul Valéry into Bengali.
Buddhadeh Bose, another (Bengali modernist, rendered 112 poms of Charles Baudelaire's The Flowers of Evil into Bengal, apart from translating Rainer Maria Rilke, Friedrich Hölderlin, Era Pound. ee cummings, Wallace Stevens and Boris Pasternak. Ayyappa Paniker translated European poets into Malayalam) while B. S. Mardhekar's Aru and the Man (which was published in England in 1937) was a treatise in formalist aesthetic that legitimated modernist practice.
Their profound understanding of Western philosophy and artistic/literary traditions equipped these three writers with the critical capacity to see the significance and limitations of the West.
5
One of the recurring themes in Sudhindranath Dutta's critical essays is the primacy of the word. In 'The Necessity of Poetry', he argues that the persistence of poetry through the ages in all societies, particularly among the unsophisticated and the primitive, attest to its necessity. His discussion of Aristotle, Plato, Voltaire, Byron, Mallarmé and Yeats prove his mastery over Western thought. Though he claims himself to be a pragmatist, Dutta believes that 'only the poetic mind. whatever its norm, can intuit associations where reason faces a void.
Thus, the case for the modernist poetic is argued in a persuasive manner in the context of the everyday world and its needs. In another essay. The Highbrow he observes, 'I agree with Virginia Woolf that creative artists must from time to time seek shelter within the much maligned Ivory Tower. This does not mean that Dutra was a formalist committed to a hermetic aesthetic. He constantly invokes the progressive role of the writer in a society, and underlines the role played by the masses in the creation of a literary tradition. He observes in 'Whiggism. Radicalism and Treason in Bengal': 'Not the introspecting intellectuals, but the enduring masses are the guardians of tradition and directors of progress; and whatever be the calibre of the experimenter, unless he passes the pragmatic test of his people, the facts he would establish are febrile dreams, and the truths he would loudly proclaim are a maniac's fancies'.
Here, we can see one of the complex contradictions that beset Indian modernists: their pursuit of cosmopolitan and universal values could not be at the cost of a complete disjunction from tradition. In his radio talk on Eliot, delivered on the occasion of the latter winning the Nobel Prize in 1948, Dutta highlights Eliot's commitment to tradition as 'revolutionary in the fullest sense of the term. He adds, 'But I am convinced that if civilization is to survive the atomic war, Mr. Eliot's ideal must become widely accepted, so that in the oases that may escape destruction it may be cherished through the interregnum.
Modernism in India was part of a larger decolonising project. It was not a mindless celebration of Western values and the European avant-garde.
In Dutta's well-known poem, 'The Camel-Bird', one may glimpse this critical spirit and desire to reinvent tradition from a cosmopolitan perspective. The poem is about the crisis of perception that can only be remedied by reinventing oneself completely. In the poem, the bird is presented as vulnerable and incapable of defending itself against the hunter. The poem ends with this stanza:
This quin is our inheritance: A line of spendthrifts went before;
They picked the pounds, and left no pence: Now both of us must pay their score
And so your self-absorption seems Inept: Can blindness cheat a curse?
The present is no time for dreams By shunning me you make had worse
Let each of us then seal a bond To serve the other's interest
6
B. S. Mardhekar transformed Marathi poetry and its direction and dynamics in terms of its vision, form and content. Like Dutta, he was deeply aware of the entire 'tradition' of Marathi poetry from its beginnings. He published a treatise on aesthetics, Arts and the Man in London in 1937, and Two Lectures on the Aesthetic of Literature in Bombay (Mumbai) in 1944. Together, they make a strong case for a modernist aesthetic in Marathi. P. S. Rege, another major modernise Marathi poet, also had spent time in London in the 1930s and was profoundly influenced by modernist poets like Eliot. Both Rege and Mardhekar went back to the roots of Marathi poetic traditions to reinvent the saint-poets such as Tukaram and Ramdas for a modern audience. One may locate a parallel movement in what Eliot and Pound did with reference to the reinterpretation of the Provencal poets, guido, Cavalcanti, Dante and the Metaphysical poets, in their own time. But the parallel cannot be forced beyond a point. poets.
In Mardhekar, both irony and self-reflexivity are ways of constituting a new reader by freeing him or her from his or her habits of viewing the world. These are strategies to re-inscribe a self-critical attitude towards the material content of art and life. In 'Mice in the Wet Barrel Died, which became the iconic modernist poem of Marathi, Mardhekar goes to the very limits of language to capture an acute state of anguish that is closer to the saint-poet's suffering than the existential crisis of the modern man or woman. The opening lines of the poem capture the wretched nature of their existence:
mice in the wet barrel died;
their necks dropped, untwisted;
their lips closed with lips;
their necks fell, undesiring.
The modernist poet has to reject the allegorical and the didactic, to articulate his or her complex awareness of the relation between form and content The Romantic poets had made a shift from Sanskritic traditions to folk merres, which was a movement towards forms The experimental open poetry of the modernists, on the other hand, opened up poetic forms further, by using imagist, suggestive free verse that affirmed that each poem has its authentic form which cannot be approximated to a metre which functions independent of content. Here, one may also recall the contribution of M. Govindan, a poet-critic who was closely associated with the modernist movement in Malayalam from its very beginning, particularly through his patronage of young writers such as Paniker, through his avant-garde journal, Sameeksha Govindan advocated a return to the Dravidian sources of Malayalam poetry, which he thought could rejuvenate its syntax and rhythm through a robust earthliness that had been curbed by the scholastic Sanskritic tradition.
Kurkshetram is a poem of 294 lines in five sections. The opening lines of the Bhagavad Gita are cited as the epigraph of the poem, thus setting a high moral and critical tone in relation to contemporary life and society. As in Eliot's The Waste Land, Kurukshetram's opening lines communicate a pervasive decline of moral values and a disruption of the organic rhythms of society:
The eyes suck and sip The tears that spurt,
The nerves drink up the coursing blood;
And it is the bones that
Eat the marrow here
While the skin preys on the bones The roots turn carnivore
As they prey on the flowers
While the earth in bloom
Clutches and tears at the roots. (Paniker 1985, 14-15)
The title, 'Kurukshetram', signifies the place where the epic battle that forms the central theme of the Mahabharata took place. The poem progresses through broken images from contemporary life, but there are also redemptive memories of forgotten harmonies that recur through the metaphor of the dream.
8
It is important to understand the indigenous roots/routes of modernity and modernism in all the three writers discussed above. They partake of the logic of a postcolonial society which had already developed internal critiques of Western modernity. In other words, they had access to the intellectual resources of alternative traditions of modernity that were bred in the native context. This enables them to selectively assimilate resources of a Western modernity on their own terms. They `translate modernity/modernism through the optics of postcolonial 'modernities. There is an internal dialectic and an external dialogic involved here.
Their relations with Western modernism need to be seen in terms of a dialogism that allows them to negotiate its modes of representation without surrendering to its ideological baggage. At the same time, what allows them to enter into this dialogic relationship is a dialectic that operates in their own culture. They can relate to their language and culture only as critical outsiders. They are critical of the provincial nature of their own culture, even as they relate to its cosmopolitan world views They value the internal critique of Western modernity, which thei cultures had developed over a period of time, but they distrust the grand narratives bred by the same powers of resistance. The act of translatio answers something deep within their ambivalent existence, as it embodi their complex relation with a fragmented society. Translation allow them to be 'within' their speech community and 'without it, at th same time. Their bilingual sensibility demanded a mode of expressio that could transit between native and alien traditions.
The modernist subject was fragmented and fractured in the Indi context, but not for reasons that constituted fragmented selves in t Western context. Colonial modernity operated within the Indian conte as a realm of desire which brought into being a new social imagina The formalist poetic of modernist poetry corresponded to an in world of desire that produced a language bristling with disquiet a angst. Translation enabled the displaced self of modernity to locate it in a language that was intimately private and, also, outspokenly pub The idiom of their expression afforded the possibility of self-knowl through epiphanies that brought 'momentary stays against confus (Ramanan 1996, 56). Thus, language became, for the modernists only reality that they could relate to. Their moment of re-cogni enabled by the discourses of 'Western' modernism, was postcolon its essence. The self-reflexive mo(ve)ment was also made possible b carrying across of not content or form, but an interior mode of that questioned the prevailing limits of freedom.
This book is titled The Joys of Motherhood, but almost immediately Emecheta begins tracing how motherhood and suffering are inextricably linked. More importantly, the author explores how women are culturally conditioned to believe they are valuable only in conjunction with their children, in turn placing these women in a servant position from which they will not willfully leave because of their biological commitment to their own children. For Nnu Ego and Ona motherhood is anything but joyful. It's a constant reminder of their own seeming powerlessness and inferiority within the system.
This blog is about Thinking Activity on. Plagiarism and Academic Integrity. This task is assigned by Megha ma'am of the English Department of Maharaja Krishnakumarsinhji Bhavnagar University (MKBU). As a part of the syllabus, students of English department are learning the paper called Research Methodology.
Plagiarism
1. What is Plagiarism and what are its consequences?
👉DEFINITION OF PLAGIARISM
Derived from the Latin word plagiarius ("kidnapper"), to plagiarize means "to commit literary theft" and to "present as new and original an idea or product derived from an existing source" (Merriam-Webster's Collegiate Dictionary. Plagiarism involves two kinds of wrongs, using another person's ideas, informat on, or expressions without acknowledging that person's work constitutes intellectual theft. Passing off another person's ideas, information, or expressions as your own to get a better grade or gain some other advantage Constitutes fraud Plagiarism is sometimes a moral and ethical offense rather than a legal one since some instances of plagiarism fall outside the scope of copyright infringement, a legal offense.
CONSEQUENCES OF PLAGIARISM
A complex society that depends on well-informed citizens strives to maintain high standards of quality and reliability for documents that are publicly circulated and used in government, business, industry. the professions, higher education, and the media. Because research has the power to affect opinions and actions, responsible writers compose their work with great care. They specify when they refer to another author's ideas, facts, and words, whether they want to agree with, object to, or analyze the source. This kind of documentation not only recognizes the work writers do, it also tends to discourage the circulation of error, by inviting readers to determine for themselves whether a reference to another text presents a reasonable account of what that text says Plagiarists undermine these important public values. Once detected, plagiarism in awork provokes skepticism and ave outrage among readers, whose trust in the author has been broken.
The charge of plagiarism is a serious one for all writers. Plagiarists are often seen as incompetent-incapable of developing and expressing their own thoughts-or, worse, dishonest, willing to deceive others for personal gain. When professional writers, such as journalists, are exposed as plagiarists, they are likely to lose their jobs, and they are certain to suffer public embarrassment and loss of prestige. Almost always, the course of a writer's career is permanently affected by a single act of plagiarism. The serious consequences of plagiarism reflect the value the public places on trustworthy information.
Students exposed as plagiarists may suffer severe penalties, ranging from failure in the assignment or in the course to expulsion from school. This is because student plagiarism does considerable harm For one thing, it damages teachers' relationships with students, turn- ing teachers into detectives instead of mentors and fostering suspicion instead of trust. By undermining institutional standards for assigning grades and awarding degrees, student plagiarism also becomes a mat- ter of significance to the public. When graduates' skills and knowl- edge fail to match their grades, an institution's reputation is damaged. For example, no one would choose to be treated by a physician who obtained a medical degree by fraud. Finally, students who plagiarize harm themselves. They lose an important opportunity to learn how to write a research paper. Knowing how to collect and analyze infor mation and reshape it in essay form is essential to academic success This knowledge is also required in a wide range of careers in law, journalism, engineering, public policy, teaching, business, govern- mont, and not -for-profit organizations.
Plagiarism betrays the personal element in writing as well. Discussing the history of copyright. Mark Rose notes the tie between our writing and our sense of self-a tie that. he believes, influenced the idea that a piece of writing could belong to the person who wrote it. Rose says that our sense of ownership of the words we write "is deeply rooted in our conception of ourselves as individuals with at least a modest grade of singularity, some degree of personality" Gaining skill as a writer opens the door to learning more about yourself and to developing a personal voice and approach in your writing. It is essential for all student writers to understand how to avoid committing plagiarism.
2. Forms of Plagiarism ?
The most blatant form of plagiarism is to obtain and submit as your own a paper written by someone else. Other, less conspicuous forms of plagiarism include the failure to give appropriate acknowledgment when repeating or paraphrasing another's wording, when taking a particularly apt phrase, and when paraphrasing another's argument or presenting another's line of thinking.
Repeating or Paraphrasing Wording
Suppose, for example, that you want to use the material in the following passage, which appears on page 625 of an essay by Wendy Martin in the book Columbia Literary History of the United States.
ORIGINAL SOURCE
Some of Dickinson's most powerful poems express her firmly held conviction that life cannot be fully comprehended without an understanding of death.
If you write the following sentence without documentation, you have plagiarized because you borrowed another's wording without acknowledgment, even though you changed its form:
PLAGIARISM
Emily Dickinson firmly believed that we cannot fully comprehend life unless we also understand death.
But you may present the material if you cite your source:
As Wendy Martin has suggested, Emily Dickinson firmly believed that we cannot fully comprehend life unless we also understand death.
The source is indicated, in accordance with MLA style, by the name of the and by a page reference in parentheses, preferably at the end of the sentence. The name refers the reader to the corresponding entry in the works-cited list, which appears at the end of the paper
Martin, Wendy "Emily Dickinson Columbia Literary History of the United Stores Emory Elliott, gen. ed. New York, Columbia UP 1988. 609-26 Print
Taking a Particularly Apt Phrase
ORIGINAL SOURCE
Everyone uses the word language and everybody these days talks about culture... "Languaculture" is a reminder. I hope, of the necessary connection between its two parts. (Michael Agar, Language Shock: Understanding the Culture of Conversation.
If you write the following sentence without documentation, you have committed plagiarism because you borrowed without acknowledgment a term ("langusculture") invented by another writer
PLACIARISM
At the intersection of language and culture lies a concept that we might call" languaculture."
But you may present the material if you cite your source:
At the intersection of language and culture lies a concept that Michael Agar has called "languaculture".
In this revision, the author's name refers the reader to the full description of the work in the works-cited list at the end of the paper, and the parenthetical documentation identifies the location of the borrowed material in the work
Agar, Michael Language Shock: Understanding the Culture of Conversation, New York: Morrow, 1994. Print.
Paraphrasing an Argument or Presenting a Line of Thinking
ORIGINAL SOURCE
Humanity faces a quantum leap forward. It faces the deepest so- cial upheaval and creative restructuring of all time. Without clearly recognizing it, we are engaged in building a remarkable civilization from the ground up. This is the meaning of the Third Wave Until now the human race has undergone two great waves of change, each one largely obliterating earlier cultures or civilizations and replacing them with the ways of life inconceivable to those who came before. The First Wave of change-the agricultural revolution-took thousands of years to play itself out. The Second Wave-the rise of industrial civilization-took a mere hundred years Today history is even more accelerative, and it is likely that the Third Wave will sweep across history and complete itself in a few decades. If you write the following sentence without documentation, you have committed plagiarism because you borrowed another writer's line of thinking without acknowledgment:
PLAGIARISM
There have been two revolutionary periods of change in history: the agricultural revolution and the industrial revolution. The agricultural revolution determined the course of history for thousands of years; the industrial civilization lasted about a century. We are now on the threshold of a new period of revolutionary change, but this one may last for only a few decades.
But you may present the material if you cite your source:
According to Alvin Toffler, there have been two revolutionary periods of change in history: the agricultural revolution and the industrial revolution. The agricultural revolution determined the course of history for thousands of years; the industrial civilization lasted about a century. We are now on the threshold of a new period of revolutionary change, but this one may last for only a few decades.
In this revision, the author's name refers the reader to the full description of the work in the works-cited list at the end of the paper, and the parenthetical documentation identifies the location of the borrowed material in the work.
Toffler, Alvin. The Third Wave. 1980. New York Bantam, 1981. Print
This blog is about Thinking Activity on. articles presentations about comparative literature and Translation studies. This task is assigned by Prof. Dr. Dilip Barad sir, Head of the English Department of Maharaja Krishnakumarsinhji Bhavnagar University (MKBU). As a part of the syllabus, students of English department are learning the paper called Comparative literature and translation studies.
Article : 8 SITING TRANSLATION
HISTORY, POST - STRUCTURAL, AND THE COLONIAL CONTEXT
TEJSWINI NIRNJANA
Abstract
Introduction:
History in Translation
The passion for English knowledge has penetrated the most obscure, and extended to the most remote parts of India. The steam boats, passing up and down the Ganges, are boarded by native boys, begging, not for money, but for books.... Some gentlemen coming to Calcutta were as tonished at the eagerness with which they were pressed for books by a troop of boys, who boarded the steamer from an obscure place, called Comercolly. A Plato was lying on the table, and one of the party asked a boy whether that would serve his purpose. "Oh yes," he exclaimed, "give me any book; all I want is a book." The gentleman at last hit upon the expedient of cutting up an old Quarterly Re- view, and distributing the articles among them.
Charles Trevelyan, (1807-1886) On the Education of the People of India
SITUATING TRANSLATION
In a post-colonial context the problematic of translation be- comes a significant site for raising questions of representa tion, power, and historicity. The context is one of contesting and contested stories attempting to account for, to recount the asymmetry and inequality of relations between peoples races, languages. Since the practices of subjection/subjectif cation implicit in the colonial enterprise operate not merel through the coercive machinery of the imperial state but als through the discourses of philosophy, history, anthropolog philology, linguistics, and literary interpretation, the colon "subject constructed through technologies or practices power/knowledge is brought into being within multipdiscourses and on multiple sites. One such site is translation. Translation as a practice shapes, and takes shape within, the asymmetrical relations of power that operate under colonialism.
Conventionally, translation depends on the Western philosophical notions of reality, representation, and knowledge. Realty is seen as something unproblematic, "out there"; knowledge involves a representation of this real- ity; and representation provides direct, unmediated access to a transparent reality.
Jacques Derrida suggests, the concepts of metaphysics are not bound by or produced solely within the "field" of philoso- phy. Rather, they come out of and circulate through various discourses in several registers, providing a "conceptual net- work in which philosophy itself has been constituted.
By employing certain modes of representing the other-which it thereby also brings into being-translation reinforces hege- monic versions of the colonized, helping them acquire the status of what Edward Said calls representations, or objects without history.
Thomas Babington Macaulay's 183 dismissal of indigenous Indian learning as outdated and in relevant, which prepared the way for the introduction of E glish education.
Niranjana concern here is to explore the place of translat contemporary Euro-American literary theory (using the of this "discipline" in a broad sense) through a set of i lated readings. I argue that the deployment of "trans in the colonial and post-colonial contexts shows us a questioning some of the theoretical emphases of pos turalism.
into being hegemonic versions of the non-Western other. Be- cause they are underpinned by the powerful metaphysics of translation, these versions are seen even in the post-colonial context as faithful pictures of the decadence or depravity of "us natives." Through English education, which still legiti- mizes ruling-class power in formerly colonized countries, the dominant representations put into circulation by translation come to be seen as "natural" and "real." In order to challenge these representations, one must also examine the historicist tenets that endorse them. I will, therefore, discuss the perti- nence of the critique of historicism to a world undergoing de- colonization, Given the enduring nature of Hegelian presen- tations of the non-West and the model of teleological history that authorizes them, a questioning of the model could un- derwrite a new practice of translation.
In chapter 2, examine how "translation" works in the tra- ditional discourse of translation studies and in ethnographic writing. Discussing the last two, which are somewhat mar- ginal to literary theory, may nevertheless help us sharpen our critique of translation. Caught in an idiom of fidelity and be- trayal that assumes an unproblematic notion of representa- tion, translation studies fail to ask questions about the histor- icity of translation; ethnography, on the other hand, has recently begun to question both the innocence of representa- tion and the long-standing asymmetries of translation.
In chapters 3, 4, and 5, my main focus is the work of Paul de Man Jacques Derrida, and Walter Benjamin (an earlier critic who is becoming increasingly important to post-structuralist thinkers). My analysis shows how translation functions as a "figure" in all three thinkers, becoming synonymous or as- sociated with a major preoccupation in each: allegory or lit- erature in de Man, the problematics of representation and in- entionality in Derrida, and the question of materialist istoriography in Benjamin. Pointing out the configurations of translation and history in Benjamin's work, I describe the ind of reading provided by de Man and Derrida of Benja- nin's important essay "The Task of the Translator." My ar- ument is that Walter Benjamin's early writings on translation.
tion are troped in significant ways into his later essays on the writing of history, a troping that goes unrecognized by both de Man and Derrida. (I use trope to indicate a metaphorizing that includes a displacement as well as a re-figuring.) The re- fusal of these major proponents of deconstruction to address the question of history in Benjamin suggests a critical draw- back in their theory and perhaps indicates why deconstruc tion has never addressed the problem of colonialism
In the final chapter, with the help of a translation from Kannada, a South Indian language, into English, I discuss the "uses" of post-structuralism in post-colonial space. Through- out the book, my discussion functions in all the registers philosophical, linguistic, and political-in which translation "works" under colonialism. If at any point I seem to dwell on only one of these, it is for a purely strategic purpose.
This work belongs to the larger context of the "crisis" in "English" and post-structuralism on literary studies in a rapidly decol- orizing world. The liberal humanist ideology that endorsed and was perpetuated by the civilizing mission of colonialism is still propagated by discourses of "literature" and "criti- cism" in the tradition of Arnold, Leavis, and Eliot. These dis- ciplines repress what Derrida, in the words of Heidegger, calls the logocentric or ontotheological metaphysics by which they are constituted, which involves all the traditional conceptions of representation, translation, reality, unity, and knowledge."
There have been few systematic attempts to question "En- glish," or literature, or criticism from a post-colonial perspective, let alone such a perspective that also incorporates in- sights from contemporary theory. In order to help challengethe complicity of these discourses with colonial and neo- colonial domination, I propose to make a modest beginning by examining the "uses" of translation. The rethinking of translation becomes an important task in a context where it has been used since the European Enlightenment to under- write practices of subjectification, especially for colonized peoples. Such a rethinking-a task of great urgency for a post- colonial theory attempting to make sense of "subjects" al- ready living "in translation," imaged and re-imaged by colonial ways of seeing-seeks to reclaim the notion of translation by deconstructing it and reinscribing its potential as a strat- egy of resistance.
Michel Foucault's no- tion; as the rest of this chapter will show, however, my use of the term is not exclusively dependent on the Foucauldian framework. Colonial relations of power have often been re- produced in conditions that can only be called neocolonial, and ex-colonials sometimes hunger for the "English book" as avidly as their ancestors.
By now it should be apparent that I use the word translation just to indicate an interlingual process but to name an entire problematic. It is a set of questions, perhaps a "field." charged with the force of all the terms used, even by the traditional discourse on translation, to name the problem, to translate_translation. Translatio (Latin) and metapherein (Greek) at once suggest movement, disruption, displacement. So does Übersetzung (German). The French traducteur exists between interprète and truchement, an indication that we might fashion a translative practice between interpretation and reading, carrying a disruptive force much greater than the other two. The thrust of displacement is seen also in other Latin terms such as transponere, transferre, reddere, vertere. In my writing, trans- lation refers to
(a) the problematic of translation that author- izes and is authorized by certain classical notions of represen- tation and reality;
(b) the problematic opened up by the post-structuralist critique of the earlier one, and that makes translation always the "more," or the supplement, in Derrida's sense.
My study of translation does not make any claim to solve the dilemmas of translators. It does not propose yet another way of theorizing translation to enable a more foolproof "method" of "narrowing the gap" between cultures; it seeks rather to think through this gap, this difference, to explore the positioning of the obsessions and desires of translation, and thus to describe the economies within which the sign of translation circulates. My concern is to probe the absence, lack, or repression of an awareness of asymmetry and historicity in several kinds of writing on translation. Although Euro- American literary modernists such as Ezra Pound, Gertrude Stein, and Samuel Beckett persistently foregrounded the question of translation, I have not discussed their work, since it has, in any case, been extensively dealt with by mainstream literary critics, and since the focus of my interrogation is not poetics but the discourses of what is today called "theory."
The post-colonial distrust of the liberal-humanist rhetoric of progress and of universalizing master narratives has ob- vious affinities with post-structuralism." Derrida's critique of representation, for example, allows us to question the notion of re-presentation and therefore the very notion of an origin or an original that needs to be re-presented. Derrida would argue that the "origin" is itself dispersed, its "identity" un- decidable. A representation thus does not re-present an "original"; rather, it re-presents that which is always already represented. The notion can be employed to undo hegemonic " representation" of "the Hindu", like , for example, those put forward by G.W.F. Hegel and James Mill.
