Sunday, 9 February 2025

ThAct: Flipped Learning Activity - The Only Story

Here, in this blog I'll be discussing aboy the video lectures conducted by Dr. Dilip Barad sir on the novel " The Only Story" by Julian Barnes. to more you can visit Teachers blog

1st Video 

The only story by Julian Barnes In this video Talks about the narrative patterns about the characters summary and the timeline of the narration. The novels genera is a memory novel published in two thousand eighteen setting in 'Stockbroker belt' outside London 1960s. 1st person narrator is Paul Robert, who is 69/70 yrs and tell us the story. Here Paul tells us the story about the love and this love is not of happy memory but instead filled with philosophical thinking of responsibilities. 

This old man i.e Paul is telling that everybody has so many stories throughout their life but the only story i.e he like to tell is this " The only Story ". And from their the protagonist takes us to 50 years back, when he was 19 years old and tells us his love with Susan Maclead and she was 48 years old having 2 daughters. And Susan was married to Gordon Maclead.

The video also talks about the reference of another novel of Barnes i.e " The Sense of an Ending " who has wron bookers prize in 2011. Here in the novel we can see the calss conflict, which is seen in the beginning of the novel like how Paul's parents sent him to tenis club where only wealthy people come to play and which will help Paul to have marriage to a wealthy family. 

Julian Barnes, an atheist he would never belive in destiny or something like that, so he gives reason to the deformed because of her old age. Paul's reaction with Susan continued for almost 29/30 yrs. 

Video also talks about the postmodern narration where, there's great doubt about the stories told by protagonist, until an individual reaches at end and revisit it all. During a gap between the years Susan got habituated with drinking alcohol and has also started lying. Her behavior is unpredictable and unreadable in many ways. 

Paul later tells and call the two daughters of Susan I.e Clara and Martha and tells them that he is moving to abroad for his career. And then Martha takes responsibility of Susan, and also sent to hospital due to his psychological condition.   As Paul moved further for his career and many womens who came and went into his life and almost forgot about the Susan. 

During his last part when he is almost 45/50 years comes to meet Susan at 79/80 that was the last meeting of Paul and Susan. Aslo comes the reference of Eric who was once attacked by the theives and instead of helping her Paul ran away giving an excuse of going to ask for the help from the police. Paul is seen and interpreted as cowered over here. 

Then comes the reference of the domestic violence and abuse which is told through the character of Gordon and uncle Humphrey, is explained through the reference of movie " Highway ".

2nd Video 


This video talks about the Character study of Joan. We can see this character as saving herself from damaged, when we look at Paul and Susan going through agony and pain. 

Joan is a friend of Susan and sister of Gerald. Sybil the name of the dog is seen as mythical character in the poem Waste Land. 

Through the character of Joan we can see immortality is a curse and death is bliss. We can see the leisure life of Joan which she spends as she does spending with dogs and drinking alcohol.

3rd Video 


This video talks about the Memory novel:

History is collective memory, memory is personal History, trauma is memory. Julian Barnes also talks and make fun of Cinematic narration and also through the movie Memento is seen in more philosophically significant. Then comes the reference of Adger Ellen Poe's "Tale tell heart ". And then talked about the History of the delusion of defeated. And Paul is self defeated over here. Then talks about the documentation of the things. Then comes the story of Eric which is refered at the end of the novel with two episodes. 

Then there's sudden reference of the lines at the very last pages I.e ' Fellow at 14 s at the bar '. With the example of bird is trying to say and explain how they fly away and the question arise that is Susan a bird in life of the Paul or Paul is bird in life of Susan. Aslo gives reference to Max Verstapper fromula one reacer.

4th Video 


Julian Barnes in his novels " The sense of Ending" told that one can't rely on the memory I.e it is unreliable. 

Narrative structure along classes line:

The novel beings with the question, what is novel and generally is of love and based on classical line given by Dr. Samule Johnson in English  dictionary (1755). 

Classical technique of direct address to the readers:

Would you rather love the more or suffer the more or love less or suffer the less I.e finally the only real question novel begins with. Then there comes the reference of Hayavadan. 

5th Video 


This video talks about the theme of responsibility. The question of responsibility is unfold in this novel by narrator whether narrator itself is involved or anything else which only narrator knows. 

We can see Paul Robert as blaming others over here, like Gordon for domestic violence. Also talks about the metaphor of link and chain is used to explain the novel. When breaking of chain occurs, their also lies responsibility of chain. Also discussed the possibilities of breaking of links or chain. 

Through both the narrative Barnes wants to tell us that when we intersopect we'll get to know whatsour role in that rather then blaming others. Intersopection is the ultimate questof responsibility that novel tries to explain.

6th Video 


In this video talks about the themes of the novel. I.e theme of Passion and suffering and love:

Ellen pretties camphell on Barnes novel, remember as you read this small boom generally and specially  about love, remember that suffering is after all, the Latin root for passon. 

The Etymology of Passion:

The word Passion is one of those words where the modern application appears disconnected from original meaning. The word cones from the Latin root word , ' Patior ' which means suffer. 1 st appeared in English 1755 AD. Passion is connected with suffering. There's a metaphor used of a steamer bot and a wooden log, example of Mississippi river. 

Susan's friend John equally old lady to her, is compared to mythical character of Tyreses. Here, postmodernity is being argued, challenged traditional knowledge system and counter factuality is given. Then talks about the character of Susan that how it can be seen in the cinema and when it comes to novel is shown through the episode of when he 1st saw Susan during his 19 yrs. 

Then an archetype is used I.e labstored, for the love and truth which means one who would die for love and is connected with Hamlet’s Ophelias dead lying body. Also in T.S.Eliots waste land we can see the myth of Tristan and isolde. 

Love and duty:

Later talks about the realisation that how love turned into pity and anger. And also talks about the repression of understanding the language.

7th Video 


In this video we can see Barne making critique of marriage institute. Then talks about shaam of marriage institutions. According to Barnes love and marriage are two different things. In the novel ' The sense of an Ending ' there's a quote that says marriage is something where pudding is serverd before, here is trying to criticise it. Also talks about the bad marriages in the novel that is of; Susan and Gordon Maclead, Paul's parents, Joan and the video ends while discussing about the theory of marriage.

8th video


This video talks about the philosophical ramblings of Paul Robert. There are two ways of looking at life, and should look with continume between them. 

Then talked about the succession of choices and with that comes regression when you have anxiety of choices. Through the example of mythical characters and Mississippi of life is tried to explain the philosophy of life.

References:-










I hope this would be helpful,
Thank you. 

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Wednesday, 5 February 2025

The Joys of Motherhood by Buchi Emecheta (ThA)

This blog is a part of thinking avtivity assigned by Megha ma'am. In this blog I'll be dealing with some of the questions which deals with the novel of Buchi Emecheta " The Joys of Motherhood". So, lets get started. 

Buchi Emecheta


Buchi Emecheta (1944–2017) was a Nigerian-born British writer known for her novels that explore gender roles, colonialism, and the struggles of women in patriarchal societies. Her works, including The Joys of Motherhood, Second-Class Citizen, and The Bride Price, focus on themes of female independence, motherhood, and cultural identity. Drawing from her own experiences as an immigrant and single mother in the UK, Emecheta’s writing offers a powerful feminist critique of societal expectations placed on women. Her contributions to African literature earned her international recognition as a pioneering feminist voice in postcolonial fiction.

“The Joys of Motherhood”


Buchi Emecheta’s The Joys of Motherhood is a poignant novel set in colonial Nigeria that explores the struggles of Nnu Ego, a woman whose life is shaped by societal expectations of motherhood. Born to an Igbo chief, Nnu Ego grows up believing that her worth is tied to her ability to bear children. After a failed first marriage due to infertility, she is remarried to Nnaife, a poor washerman in Lagos. When she finally gives birth, she expects happiness and fulfillment, but instead, she finds herself trapped in a cycle of hardship, sacrifice, and economic struggle. The shift from her traditional rural upbringing to the urban challenges of Lagos exposes the difficulties of balancing cultural expectations with survival. Nnu Ego tirelessly dedicates her life to raising her children, believing they will provide her with security in old age. However, as they grow up, they pursue their own lives, leaving her abandoned and alone.

The novel highlights several key themes, including the paradox of motherhood, the oppressive nature of patriarchy, and the impact of colonialism on traditional Igbo society. While motherhood is celebrated in Igbo culture, Nnu Ego’s experience reveals its burdens, showing how it often leads to emotional suffering and isolation rather than fulfillment. The novel also critiques rigid gender roles, where women are expected to bear the weight of family responsibilities while men, like Nnaife, enjoy societal privileges with fewer expectations. Additionally, Emecheta illustrates how colonialism disrupts indigenous values, creating tensions between traditional and modern ways of life. The economic struggles of migration from rural villages to colonial cities further complicate Nnu Ego’s efforts to provide for her family, reinforcing the theme of women’s economic and emotional exploitation.


Q. The basic narrative lends itself toward neo-feminism. The main female characters struggle to shed the conditioning that forces them to act out roles that bring little fulfillment. With reference to this, study The Joys of Motherhood by applying a feminist theory.

Motherhood as a Double-Edged Sword

In the novel, motherhood is both celebrated and lamented. Culturally, the role of a mother is seen as the peak of womanhood, a marker of respectability and success. However, Emecheta unravels the paradox that while motherhood is idolized externally, it often results in personal and emotional deprivation. Through the life of Nnu Ego, the protagonist, Emecheta exposes how women are trapped in a role that, although revered, offers little in the way of genuine personal fulfillment. Neo-feminism challenges the notion that fulfillment can only be achieved through reproductive and domestic labor, advocating instead for the recognition of women as whole individuals with aspirations that extend beyond traditional roles.

The Ironic “Joy”

The title itself is laden with irony. The “joys” of motherhood are revealed to be fleeting and, at times, overshadowed by isolation, exploitation, and a loss of identity. This irony is central to neo-feminist critiques of the idealization of motherhood. The narrative questions the assumption that women naturally find complete satisfaction in child-rearing and domestic duties, thereby opening a dialogue about the limited social constructs available to women and the consequent marginalization of other forms of personal achievement and self-realization.

Patriarchal Conditioning and the Construction of Female Identity

A core element of feminist theory is the concept that gender roles are socially constructed rather than innate. In The Joys of Motherhood, Nnu Ego’s identity is largely defined by her ability to bear children and manage the household, reflecting a deep internalization of patriarchal values. From her early experiences to her later years, the protagonist’s self-worth is measured against her reproductive success and her capacity to serve a male-dominated society. This internalization is a central theme in neo-feminist thought, which argues that women are often conditioned from a young age to view themselves through the lens of societal expectations, a process that limits their agency and potential.

Resistance and the Struggle for Self-Definition

While the societal framework appears rigid, the novel also documents subtle forms of resistance. The struggles faced by Nnu Ego and other female characters are allegorical of a broader feminist struggle: the fight to reclaim identity beyond the narrow confines of motherhood and domesticity. Neo-feminist theory emphasizes that breaking free from these roles requires both individual agency and collective societal change. Emecheta’s portrayal of these women—caught between tradition and modernity—mirrors the neo-feminist call for redefining womanhood in ways that honor personal aspirations and intellectual pursuits alongside traditional roles.

The Colonial Legacy and Its Impact on Gender Roles

Emecheta’s narrative does not exist in a vacuum; it is deeply intertwined with the legacy of colonialism in Nigeria. Colonial structures often reinforced patriarchal norms, complicating the traditional roles that women were expected to play. From a feminist perspective, particularly one informed by intersectionality, the novel can be read as a critique of how multiple forms of oppression—gender, colonial, and class-based—converge to limit the opportunities available to women. Nnu Ego’s life, marked by economic hardship and societal devaluation, underscores how colonial legacies have not only disrupted indigenous cultures but have also deepened gender inequalities.

Economic Exploitation and the Devaluation of Female Labor

Economic factors also play a significant role in shaping the lives of the women in The Joys of Motherhood. The economic dependence on men and the undervaluing of women’s labor—both reproductive and otherwise—are critical issues within neo-feminist discourse. By focusing on the financial struggles and the exploitation inherent in the domestic sphere, Emecheta highlights the broader systemic forces that devalue female contributions. This perspective encourages readers to question the economic structures that underpin gender inequality and to envision alternatives that recognize the full spectrum of women’s labor.

Beyond Essentialism

Neo-feminism departs from essentialist views that confine women to a singular identity defined by biology and reproductive roles. Emecheta’s work, therefore, is a call to broaden the understanding of womanhood. By illustrating the complex interplay of cultural expectations, economic realities, and personal ambitions, the novel challenges the reader to see beyond the simplistic equation of womanhood with motherhood. This approach is reflective of neo-feminist thought, which advocates for a more nuanced and intersectional understanding of female identity.

The Role of Education and Self-Actualization

The limited opportunities for education and self-actualization depicted in the novel further reinforce the argument for a redefinition of female roles. Neo-feminist theory posits that education and economic independence are critical pathways to empowerment. The Joys of Motherhood thus serves as a critique of a system that not only restricts women's roles to childbearing and domestic work but also systematically denies them the chance to pursue personal growth and professional fulfillment.



Q.  Nnu Ego dies, at the end of the story, a lonely death “with no child to hold her hand and no friend to talk to her. She had never really made many friends, so busy had she been building up her joys as a mother” justify this statement by giving illustrations from the novel.


The All-Consuming Nature of Motherhood

From early in her life, Nnu Ego is conditioned with the belief that a woman’s worth is measured solely by her ability to bear children and nurture her family. She invests every ounce of her energy into this role, believing that motherhood is the ultimate fulfillment of her identity. This relentless focus on motherhood comes at a great personal cost. As she dedicates herself entirely to ensuring that she meets the cultural benchmarks of success, she neglects her own desires, ambitions, and the cultivation of friendships. Her identity becomes so narrowly defined by motherhood that she has little room—or time—to develop any sense of self outside this role.


Throughout the novel, we see Nnu Ego continuously sacrificing opportunities for personal growth. Whether it is through her relentless efforts to secure additional children or her unyielding adherence to societal expectations, she is portrayed as someone who cannot step outside the identity that has been constructed for her. This singular focus ultimately isolates her from forming bonds that might have provided emotional sustenance beyond the realm of motherhood.


The Hollow Rewards of Maternal Success


Ironically, the very role that Nnu Ego believes will bring her joy and fulfillment becomes the source of her isolation. While she amasses numerous children over the years, the anticipated emotional rewards of motherhood are largely illusory. The societal promise that children will provide lifelong companionship and support does not materialize for Nnu Ego. Instead, many of her children either succumb to the harsh realities of life—such as poverty and neglect—or are unable to offer her the emotional comfort she so desperately needs.


By the end of the novel, the absence of a supportive familial network is painfully evident. Nnu Ego’s expectation that her children would be there to console her in her old age is shattered by reality. The children she has nurtured and sacrificed for have, for various reasons, not been able to offer the reciprocal care and affection she had long envisioned. This failure of the familial bond underscores the emptiness of a life solely devoted to the duties of motherhood.

Social Isolation and Lack of Genuine Friendships


Another dimension of Nnu Ego’s isolation is her inability or perhaps her unwillingness to cultivate friendships and social networks beyond her immediate role as a mother. Her life is so dominated by the pursuit of motherhood that she rarely takes the time to engage with other women or form deep, meaningful relationships. In the cultural context of the novel, the emphasis is placed almost exclusively on her reproductive and domestic capabilities, leaving little room for personal connections that are not tied to this role.


The narrative repeatedly hints at Nnu Ego’s isolation in her later years. Her few interactions outside the sphere of motherhood are superficial, lacking the intimacy and mutual support that characterize true friendship. As she ages, this isolation becomes starkly apparent—she has “never really made many friends” because her energy was wholly consumed by her attempts to “build up her joys as a mother.” This lack of a support network leaves her vulnerable and profoundly alone at the end of her life.


The Irony of Cultural Conditioning

The society in which Nnu Ego lives places a high premium on the role of the mother, yet it fails to recognize the full humanity of the women who perform this role. The cultural conditioning that equates womanhood with motherhood ultimately strips Nnu Ego of any other avenue for personal fulfillment. Her life becomes a series of sacrifices made in the name of a role that, while socially revered, is intrinsically unfulfilling. This systematic devaluation of her individuality is a critical factor in her eventual, lonely demise.

Nnu Ego’s death is not just the end of a life spent in the service of motherhood; it is also the final, tragic outcome of a society that has allowed her to exist solely in a limited and prescribed role. The loneliness she experiences—dying with “no child to hold her hand and no friend to talk to her”—symbolizes the broader failure of a culture that does not value women as complete, autonomous individuals. Her life, marked by relentless dedication to a role that left her emotionally and socially isolated, becomes a powerful critique of the societal structures that confine and ultimately dehumanize its women.

Conclusion:


Buchi Emecheta’s The Joys of Motherhood presents a powerful critique of societal expectations that confine women to the role of motherhood, often at the expense of their personal fulfillment and emotional well-being. Through Nnu Ego’s journey, the novel highlights the paradox of a life devoted to raising children and upholding cultural ideals, only to end in loneliness and disillusionment. The neo-feminist analysis of the novel reveals how deeply ingrained patriarchal conditioning forces women to sacrifice their personal desires, friendships, and individuality in pursuit of an idealized version of motherhood that ultimately offers little tangible reward.

Nnu Ego’s tragic ending—dying alone, without the companionship of children or friends—exemplifies the hollow reality of a life spent in service of an oppressive societal expectation. Her struggles illustrate how the prescribed roles for women, particularly in patriarchal and postcolonial contexts, can lead to profound isolation rather than fulfillment. The novel not only critiques the cultural structures that define motherhood as the sole measure of a woman’s worth but also urges a reevaluation of female identity beyond reproductive and domestic labor.

References:

I hope this would be helpfull,

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Saturday, 1 February 2025

ThAct: What is Literature and How Literature Shaped Me?

Hello readers, this blog is a part of Thinking Activity assigned by professor Dr. Dilip Barad. To know more about the activity you can visit Teachers blog.

What is Literature (Before Post- Graduation) 



Beginning from my school life I have been studying English as a subject, which includes some of the poems and stories, but that isn't about the Literature. What actually literature is I get to understand when I pursue a BA program. But still an in depth knowledge about literature I received when I pursued for Masters. Literature is like a vast, ever-evolving garden where words bloom into worlds, attracting readers to explore, imagine, and experience the depths of human thought, emotion, and creativity. It’s a space where stories are narrated, ideas are shared, and cultures are considered. 


After (Post Graduation)


Let’s take an example and think of literature as a vast playground of ideas. Every story, poem, or play is a game of imagination:You swing between reality and fantasy in magical realism. You slide into cultural exploration in works like The God of Small Things by Arundhati Roy.


Literature is not just stories on a page; it’s a living, breathing entity that evolves with every reader. It doesn’t just tell us about the world—it makes us feel, question, and dream about how the world could be. literature evolves with society, reflecting its joys, struggles, and ambition. It transforms with every reader, because the act of reading is as creative as writing itself. What you see in Wide Sargasso Sea, for example, is a reflection of your thoughts, experiences, and emotions, making the work unique every time it’s read. So, literature isn't just words on a page; it’s a living, breathing art form, a bridge between imagination and reality, inviting us to explore who we are and what the world can be.


In essence, literature is a human conversation across time, space, and emotions. It’s the art of capturing life in words, making the ordinary extraordinary, and the extraordinary understandable.



Metaphor for literature is ' Spectrum '


A spectrum is defined as the characteristic wavelength of electromagnetic radiation (or a portion thereof) that is released or absorbed by an object or substance, atom, or molecule.

The word 'spectrum' in the context of English literature can be understood as a representation of the vast range of themes, genres, styles, voices, and perspectives that literature encompasses. Just as a spectrum in physics represents a continuum of colors or wavelengths, English literature, too, spans a wide array of expressions, each offering its own unique tone, interpretation, and insight into the human experience.



English literature, like a spectrum, includes diverse genres ranging from drama, poetry, and prose to fiction, non-fiction, and experimental forms. Each genre represents a different color in the literary spectrum, offering varied ways of exploring ideas, from the structured formality of Shakespeare’s plays to the free-verse experimentation of modern poetry. Let’s take an example: The Waste Land by T.S. Eliot: A modernist poem combining fragmented imagery, diverse voices, and mythological references. Waiting for Godot by Samuel Beckett: An absurdist play with minimal plot and experimental dialogue.Pride and Prejudice by Jane Austen, Hamlet by William Shakespeare. 

Literature touches on a spectrum of themes, from the most personal (love, identity, self-discovery) to the broader societal (politics, war, justice, race). This thematic range can be seen in works as different as Pride and Prejudice by Jane Austen: Explores themes of love, marriage, and self-discovery and Animal Farm by George Orwell: A political allegory about power and corruption. The spectrum of themes reveals the capacity of literature to engage with nearly every facet of human life, offering perspectives across time, space, and cultures.

The spectrum also represents the variety of writing styles and voices. The stylistic range can move from the fussy, complex language of John Milton's Paradise Lost to the minimalist style of Hemingway. Just as a spectrum contains multiple shades of light, English literature features multiple narrative voices—from the introspective voice in first-person narratives to the omniscient narrators of epic tales.

The evolution of English literature itself can be seen as a spectrum, constantly shifting and adapting over time. From the Old English of Beowulf to the modernist movements of T.S. Eliot and James Joyce, literature reflects the spectrum of historical, cultural, and linguistic shifts. Each era adds a new colour to the literary spectrum, creating a chain that spans thousands of years and reflects changing social, political, and intellectual landscapes.

The spectrum of literature also implies multiple interpretations. Just as colors on a spectrum can be perceived differently depending on light or perspective, literature can offer varied interpretations depending on the reader's own experiences, knowledge, or cultural background. A single text might be read as a political critique, a psychological exploration, or a personal story, depending on the lens through which it is viewed.

The spectrum of English literature suggests infinite possibilities for creative expression. Much like how light can produce an infinite variety of colors when refracted through a prism, literature can offer an endless array of stories and ideas, constantly evolving and expanding with new works. This highlights the boundless potential of literature to explore human nature, society, and the world around us.

How Literature Shaped me?

Literature has profoundly influenced my intellectual growth, artistic sensibilities, and worldview. By engaging with various literary traditions, I have gained a deeper understanding of human emotions, social structures, and philosophical debates. Each era and field of literature has contributed uniquely to my personal and academic development, shaping my analytical thinking, cultural awareness, and creative expression. From the dramatic intensity of the Elizabethan period to the complex narratives of 20th-century literature, from Indian aesthetics to postcolonial studies, literature has played a great role in exploring the complexities of life, identity, and storytelling.



My journey with literature began with the power of drama in the Elizabethan period. Shakespeare’s exploration of ambition, which we can see in “Macbeth”, and identity in “Hamlet”, has given me an understanding of deep human emotions and the complexities of fate and free will. These themes resonate with my interest in performance arts and theater. Restoration literature, with its wit and satirical brilliance, introduced me to the power of comedy and critique. Playwrights like Aphra Behn demonstrated how literature can reflect and challenge social norms, reinforcing my belief in the stage as a space for both entertainment and social commentary.

The Neo-Classical period emphasized reason, helping me develop a structured approach to critical analysis. Writers like Alexander Pope and Jonathan Swift showed me how literature could use satire to critique society, a tool still relevant in contemporary media and performance. In contrast, the Romantics, particularly Wordsworth, Coleridge, and Keats, introduced me to the beauty of nature, imagination, and deep emotions. Their works helped me appreciate the personal and introspective power of literature, influencing how I view storytelling as an expression of human experience.

Victorian literature exposed me to themes of industrialization, morality, and social justice. Writers like Charles Dickens and Thomas Hardy gave me insight into class struggles and the impact of modernization, themes that continue to shape contemporary discourse. Moving into the 20th century, literature became a site of experimentation and rebellion. Modernist writers like Virginia Woolf and James Joyce challenged traditional narrative forms, deepening my appreciation for fragmented storytelling. 

Writers like Toni Morrison and William Faulkner taught me how literature can give voice to marginalized communities and historical trauma is seen in American Literature. African literature, particularly through Chinua Achebe and Ngũgĩ wa Thiong'o, expanded my understanding of colonialism, resistance, and the reclaiming of indigenous narratives.

Indian aesthetics, with its emphasis on rasa (emotion) and dhvani (suggestion), has shaped my understanding of artistic expression, particularly in theater and performance. My engagement with postcolonial studies, especially through texts like Frantz Fanon’s The Wretched of the Earth and Jean Rhys’s Wide Sargasso Sea, has helped me critically analyze power structures and cultural identities. These studies have reinforced my belief in literature as a space for resistance and redefinition of history.

Film and cultural studies have expanded my engagement with storytelling beyond the written word. As I analyze films like Memento and The Bourne Identity in my dissertation, I see how cinema borrows from literary traditions to create layered narratives. Cultural studies have further helped me understand how literature and media shape ideologies related to race, gender, and power, reinforcing my ability to critically analyze both texts and visual narratives.

Literature has not only shaped my academic journey but has also influenced how I perceive and engage with the world. It has refined my ability to think critically, express emotions artistically, and understand diverse cultures and histories. Whether through novels, plays, or films, literature continues to be a powerful force in shaping my thoughts, creativity, and aspirations.

Thank you. 


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ThAct: Flipped Learning Activity - The Only Story

Here, in this blog I'll be discussing aboy the video lectures conducted by Dr. Dilip Barad sir on the novel " The Only Story" ...