Youth Festival 2023

Hello,

 This blog is written as a part of thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU. In this blog I will try to reflect my understanding of various events and themes.

           The Manbhavan 

      Yuvak Mahotsav 2023

Introduction

The Manbhavan Yuvak Mahotsav 2023, hosted by Maharaja Krishnakumarsinhji Bhavnagar University, unfolded from November 2nd to 5th, 2023. This blog captures the essence of the Youth Festival, offering a firsthand account of the vibrant events that transpired.

Maharaja Krishnakumarsinhji Bhavnagar University hosted its 31st Inter College Youth Festival, titled "Manbhavan Yuvak Mahotsav," from November 2nd to 5th, 2023. The event, organized by the Physical Education Department, revolved around the central theme of "NariShakti Vandana," drawing inspiration from the recently passed NariShakti Vandana bill in Parliament. The festival aimed to embody the essence of mindfulness, resonating with the harmony of mind and soul.

The Manbhavan Yuvak Mahotsav 2023 showcased a diverse array of talent through 32 competitions, meticulously organized into five sections: Literature, Music, Fine Arts, Dance, and Theatre.

Narishakti Vandana

During the Youth Festival, women from various fields were honored for their contributions, aligning with the recently passed Nari Shakti Vandana bill in Parliament. Notably, both the Inauguration and Valedictory events were graced by women as chief guests. It's encouraging that out of 1171 participants, 62% were girls (721 participants), truly reflecting the essence of Narishakti Vandana. MK Bhavnagar University stands out as the first to celebrate the entire Youth Festival under the theme of Nari Shakti Vandana.

Literature Section: 

मनभावन शब्दम" - English Department

Music Section

"मनभावन स्वरम" - New Court hall

Fine Arts Section

मनभावन रंगम" - External Department

Dance Section

मनभावन नर्तम" - Amphitheatre

Theatre Section

मनभावन नाट्यम" - Atal Auditorium

This comprehensive structure ensured a dynamic and inclusive platform for participants to express their creativity and skills across multiple artistic discipline.

Highlights

A noteworthy initiative for the Manbhavan Yuvak Mahotsav 2023 was the creation of a theme song, adding a melodic touch to the festival experience.

Song Composition:

Lyrics by Prof. Himal Pandya: Prof. Himal Pandya's poetic prowess found expression in the song's profound lyrics, capturing the spirit and essence of the festival's theme, "NariShakti Vandana."

Composition by  Chintan Pandya: Shri Chintan Pandya's musical genius breathed life into the lyrics, composing a theme song that resonated with the emotions and energy of the youth.

Kalayatra

 the Youth Festival commenced with the vibrant Kalayatra on November 2nd, tracing a lively route from Samaldas Arts College to Central Salt, Atabhai Chowk, Rupani Circle, Sardarnagar, Swaminarayan Gurukul, ultimately concluding at J. K. Sarvaiya Group of Colleges.

Major Themes of Kalayatra

• Humans in the trap of Mobile
• In the form of Navdurga, salute the power of women."
• Chandrayan

Department of English

The students of the Department of English played a pivotal role in this year's Kalayatra, showcasing a compelling theme that skillfully depicted the evolution of women's journey from oppression to freedom, encapsulating the transition from traditional to modern roles.

Opening Ceremony

On the 3rd of November, the opening ceremony was graced by esteemed dignitaries, including Dr. Ami Upadhyay, the first female Vice-Chancellor of Dr. Babasaheb Ambedkar Open University and an alumna of our university, Yuvaraj Jayveer Rajsinh - the Prince of Bhavnagar, Bhartiben Shiyal, renowned folk singer Sagardan Gadhavi, Dr. Dilipsinh Gohil - the Head of Physical Education at the University and the In-Charge Registrar of the university, and Dr. Girishbhai Patel. 

Literary Events:-

मनभावन शब्दम" - English Department

This includes Elocution, Quiz, Essay writing, Poetry writing and recitation competitions.

Elocution

Subjects

• 1. Artificial Intelligence: How Challenging આર્ટિફિશિયલ ઇન્ટેલિજન્સ: કેટલું પડકારજનક? 
• 2. यत्र नार्यास्तु पूज्यंते 
• 3. Let's reduce old age homes ચાલો વૃધ્ધાશ્રમ ઘટાડીએ
• 4. Environment and Human Being: Two Sides of the same coin પર્યાવરણ અને માનવ: એક સિક્કાની બે બાજુ
• 5. Global Terrorism: Implications and Solutions વૈશ્વિક આતંકવાદ: અસરો અને ઉકેલો 
• 6. बुलंद भारत की बुलंद तसवीर  

Quiz

 A typical quiz competition structure involves two rounds: 

  Written Round: 

participants tackle questions on diverse topics such as History, Literature, and current events, showcasing their depth of knowledge through written responses.

  Oral Round:

The competition proceeds to an interactive phase where participants answer questions verbally, demonstrating their quick thinking and communication skills.

  

  This dual-round format ensures a comprehensive assessment of participants' knowledge across various subjects, ultimately determining the deserving winners of the quiz competition.

Essay writing

Subjects:

• 1. India's Space Odyssey - Benefits of India's Agricultural Opportunities
• 2. From Kitchen to Cabinet - Woman, Don't give up 
• 3. Are Wars Inevitable?
• 4. The importance of Value based Education
• 5. Plastic Pollution: Problems and Solutions

Poetry writing

Subjects:

• 1. ઉમ્મીદ
• 2. સ્મરણની કેડીએ
• 3. જે કર જુલાવે પારણું 
• 4. मेरी माटी मेरा देश 
• 5. બાળપણ

Musical Events:

A total of 11 competitions are held in the music department. Including

• Bhajan
• Sugam Git
• Indian Group Song
• Classical Singing
• Western Solo song 
• Western group song
• Folk song
• Classical Music- Vocal
• Classical Music- Rhythm
• Folk Orchestra
• દુહા-છંદ

Dance

Folk Dance

The folk dance performances at the youth festival were amazing, displaying the beauty of our diverse culture. Dancers showcased various styles like Adivasi Ras, Mishra Ras, Prachin Garbo, Arvachin Garbo, Tippni, Hudo, Timli, and more, bringing lively energy to the stage in traditional outfits. The upbeat music and group singing made the whole experience even more exciting, turning folk dance into a highlight that added joy and liveliness to the youth festival for everyone.

Classical Dance

Watching classical dance is captivating because it reflects our culture. Dancers wear special clothes, and their expressions are crucial in telling the story.

Theatre Events:

Total five theatrical events were organised including Mimicry, Skit, One act play, Mono Acting and Mime.

Mimicry

Mimicry is a tough skill where people try to copy various sounds like trains, bullets, animals, and more. Some contestants make it even more creative by adding rhymes to their performances.

Skit

A skit is a short, funny play that's meant to be entertaining. It's quick, gets a specific point across, and often brings laughter. People use skits in places like schools or events to make the audience laugh and have a good time.

Major Themes of Skit

• The issue of superstitions prevalent in society
• The challenges associated with the Bhavnagar Municipal Corporation (BMC) and its road construction practices. 
• The clash between East and West cultures,
• Social media and cybercrime.

One Act Play

A one-act play is a type of drama that has only one act, as opposed to plays that have multiple acts.

Kashmir Crisis:

The play talks about the tough times faced by the people in Kashmir, showing the pain and difficulties they go through. It highlights the uncertainty in their lives and how it deeply affects their families. One woman, whose husband was taken by terrorists, faces a cruel situation, including rape, and doesn't know if her husband is still alive.

In short, the play vividly shows themes of loss, violence, cruelty, and the mental struggles of people living in Kashmir.

Mono Acting 

Mime

Mime is like a silent play where actors use their faces, bodies, and movements to tell stories or show feelings without talking. They pretend to touch things that aren't there and act like they're in imaginary places. Mimes wear special outfits and make big movements to make the audience understand and enjoy the performance.

• 1. Charan Kanya
• 2. Women Empowerment: Breaking Boundaries of Traditional Womanhood
• 3. The Importance of Outdoor Games Over Mobile Games
• 4. Achievements of India in Various Sectors
• 5. Life of Soldiers

Fine Arts competitions 

Fine Arts competitions cover On the Spot painting, Poster making, Rangoli, Paper Collage, Mahendi, Cartooning, Clay Modelling, Installation, and On the spot photography. Subjects were provided for all events except Rangoli, which follows traditional rules, while others focus on depicting modern events.

On the Spot Painting

Subjects:

• ઊત્સવોની ઉજવણી 
• નારી શક્તિ વંદના 

Poster Making

Subjects:

• વૃદ્ધોની સેવા 
• પાણી બચાવો 
• કન્યા શિક્ષણ

Paper Collage

Subjects: 

• Fish Tank
• Flower Pot
• Rainy Season

Cartooning

Subjects:

• મોંઘવારી 
• ચુંટણી 
• ગાંધીજી અને જનતા 

Clay Modelling

Installation

Subjects:

• નારી શક્તિ 
• સુરક્ષા 
• મજૂર 
• ચિકિત્સા (આયુર્વેદના સંદર્ભમાં )

On the Spot Photography

Subjects:

• યુથ ફેસ્ટિવલ 2023 
• આજની નારી કુદરતની સંગાથે 

Rangoli

Closing Ceremony 

The closing ceremony of the Youth Festival happened on November 5th before announcing the results. Special guests for this occasion were Sejalben Pandya, Shri Nirenbhai Bhatt—a famous writer, and Shri Meran Gadhavi—a well-known folk singer

Result 

Swami Sahjanand College of Commerce and Management clinched the overall champions' title, securing the general championship at the Youth Festival, with KPES College achieving the position of runners-up. Heartfelt congratulations to both institutions for their exceptional performances.

Department of English

 

The students of the Department of English at MKBU actively participated in 18 events this year. Notably, Trushali Dodiyasecured the second rank in Rangoli, and Dhatri Parmar earned the second rank in Cartooning.

Conclusion 

This blog serves as a virtual journey through the Manbhavan Yuvak Mahotsav 2023, capturing the cultural, artistic, and athletic prowess that unfolded on the grounds of Maharaja Krishnakumarsinhji Bhavnagar University. It is reliving the moments that made this youth festival a true celebration of talent, creativity, and camaraderie.

Title Significance of "The Home and The World"

Hello,

       This Blog is an Assignment of paper no.: 201-  Indian English Literature Pre-independence .In this assignment I am discussing Title significance of "The Home and The World". 

Personal Information 

Name:- Mansi B. Gujadiya

Roll Number:-12

Enrollment Number:-4069206420220013

Batch:-M.A SEM -3( 2022-23 )

Email ID:- mansigajjar10131@gmail.com

Paper Number:-201

Paper Code:-22406

Paper Name:-Indian English Literature Pre-independence

Submitted to:- English department MKBU

Topic:- Title Significance of "The Home and The World"

 Introduction 

The Home and the World could be read in more than one way, and through different interpretations. The Home and the World is a novel that reads like an allegory on the failure of the Indian nationalist projects,3 circling around the issues of “Home” versus “World,” tradition versus modernity, created by the active involvement of the colonisers in the cultural, economic and administrative life of the colonised. It could be read as an allegory on the failure of Indian nationalism to accept tradition and modernity, home and the world, concurrently. In addition, the novel offers an alternative nationalist project that could free India from its obsession with the colonising powers: true freedom of the nationalist imagination will be gained by going beyond every form of ideological prejudice and separation, and by synthesising every conceivable value that could be useful for the development and maintenance of the nation. And as a concrete example of his alternative nationalist project, Tagore founded Visva Bharati University in Santiniketan in 1921.

About the Poet

Rabindranath Tagore, widely regarded as one of the greatest poets in the world, was an overall genius whose contributions are spread through literature, music, art, and social reform. Born on .May 7, 1861, in Calcutta (now Kolkata), India, Tagore was a prolific writer who produced a vast body of work comprising poems, songs, plays, essays, and novels. His deep philosophical insights and lyrical expressions have earned him immense admiration, both in his homeland and globally.

As a child, Tagore displayed a keen interest in literature and was encouraged by his family to pursue his passion. He began writing poems at a young age and published his first collection of poetry, "Bhanusimha Thakurer Padabali," at 16. His poetry reflects a deep sensitivity to the world around him, encompassing themes of love, nature, spirituality, and the complexities of human emotions. His writing style is marked by a profound simplicity that captures the essence of his thoughts and feelings. In addition to his creative pursuits, Tagore was deeply engaged in social and political reform. He believed in the power of education and established an experimental school called .Santiniketan, which later became Visva-Bharati University. Tagore's vision of education emphasized the importance of freedom, creativity, and a broader understanding of the world.

About novel

The novel "The Home and the World" is written by a famous personality Rabindranath Tagore. It was initially written and published in Bengali in 1916 and later translated into English by Surendra Nath Tagore. The Bengali title of the novel is "Ghare Baire." This social and political novel is based on the different cultures of the society. The novel's central theme is love, the tradition of society, and nationalism. The novel is about the Swadeshi movement in Bengal, the partition of Bengal, east Bengal, and West Bengal in 1905. The Swadeshi movement was one of the large protests and movements of that time when British Colonial Rule controlled India. It played a significant role in the independence of India. The novel talks about the conflict between tradition and modernity and contains a detailed discussion of the love triangle between the characters present in the novel. Tagore discussed the tradition's personal and political aspects and offered a deep study of human emotions and the stress when a tradition experiences a sudden change in its legacy.

The story revolves around three main characters. Nikhil a progressive zamindar (landlord) who supports and follows Western ideals and encourages his wife, Bimala, to embrace her independence and mental growth. Bimala, a young and sheltered woman, finds herself ragged between her loyalty to her husband and her growing fascination with Sandeep, a charming and brave nationalist leader who fights for a radical and militant approach to the freedom movement. The psychological pain that Bimala goes through as she negotiates the complications of love, duty, and self-discovery is expertly portrayed by Tagore. The story explores issues of identity, gender roles, and the effects of personal decisions during political instability from her point of view. The characters must deal with their views and disagreements as the tale develops, which has dramatic and unexpected results. The Home and the World explores competing ideologies and the intensely human conflicts that result from societal change

Title significance 

The title of the book The Home and the World by Rabindranath Tagore can be interpreted at various levels. At one level it tells about the struggle of Bimala in choosing between her ‘home’ behind the purdah, the outside ‘world’ that her husband Nikhil has introduced her to. Moreover, Bimala is also torn between being a faithful wife of Nikhil who is her ‘home’, and Sandip her attraction and newly found love representing the outside ‘world’. At some deeper into the novel, however, the title symbolizes the two ideologies Bimala must choose between - Nikhil’s pragmatism that represents the ‘home’ and Sandip’s idealism that represents the ‘world’.

It is due to Nikhil’s exertion that Bimala crosses the threshold of her secluded, sheltered ‘zenana’existence behind the purdah and enters the outside world. Ironically, this crossing of the threshold coincides Sandip’s entrance into their lives; proving, as Nikhil observed, ‘if you will not go to the world, the world will come to you’. It was at the sight of Sandip that Bimala, drawn to his nationalistic fervour, makes the choice between staying inside her ‘home’ and meeting him in the outside ‘world’, and chooses the latter.

Smitten by Sandip's fiery speeches and his vision of her as the ‘Queen Bee’ as contrasted with her own husband Nikhil's ostensibly indifferent attitude towards the freedom struggle, Bimala finds herself increasingly attracted to Sandip. Nikhil is the man of her home; Sandip represents to her the outside world, not only because he is her link to the nation, her source of information to all that is happening outside her home in the country, but also because he is an outsider who embodies all the vitality and passion that she supposes the outside world to contain but that has been absent from her own domestic life. She emotionally trips, vacillates between Sandip and her husband, and decides to take side with Sandip until she returnes home bruised and humiliated but with a more mature understanding of both Nikhil, her Home, and Sandip, the World.

Through the love-triangle, Tagore explores the war between idealism and pragmatism inside Bimala’s mind and extends its sphere of influence to encompass the issues dividing India during those times of strife and struggle through the depiction of the revolution and the Swadeshi movement.

Nikhil, who was keen on social reform but repulsed by nationalism, gradually loses the esteem of his spirited wife, Bimala, because of his failure to be enthusiastic about anti-British agitations, which she sees as a lack of patriotic commitment. However, despite seeing clearly that she is unimpressed by his worldview, he refuses to compromise his principles and persists in his quiet belief in humanism over nationalism .This measured stance of her husband towards politics fails to win Bimala’s approval.

Unconvinced by this non-flamboyant, practical approach towards freedom and fascinated by the illusive utopia presented to her by Sandip, Bimala is torn between the two extremes. Her choice stands between the inclusive humanism practiced in her Home and the militant nationalism followed by the World. She wavers towards the latter, taken in by the goddess image Sandip created of her and the power he seems to impart in her every time he speaks. But in the end, when Sandip isexposed, her dreams are shattered and reality strike and she comes back to her husband “hesitatingly, barefoot, with a white shawl over her head”, back to the ‘home’ she has abandoned and neglected.

It is well known that Tagore, after a brief dip into the Swadeshi movement, became disillusioned with nationalism and condemned it on the grounds that ardent nationalism, in the process of uniting all Hindus, would end up alienating other religions and nationalities and promoting hatred and exclusivity that would break the country apart and destroy people’s humanism. In that context, the title of the novel can be interpreted as an appeal to strive towards global unity and shun the politics of nationalism. There are several plot points in the novel – such as the harassment of Miss Gilby, and the alienation and consequent uprising of the Muslim traders - that can be considered evidence of this. Thus, through Nikhil, who was Tagore’s spokesperson and his counterpart in many ways, Tagore tried to explain his dream of his ‘home’ coexisting in harmony and mutual friendship with the ‘world’.

Conclusion

The Home and the World, written by Rabindranath Tagore, ends with a heartfelt conclusion that makes us think deeply about love, loyalty, and the clash between tradition and modern ideas. At the end of the story, the characters' lives become disturbed, and we see the consequences of their choices. As the story ends, Bimala realizes the consequences of her attraction towards Sandip and the wrong path she followed unthinkingly. She understands that Sandip's love and his betrayal of ,Nikhil's trust were destructive. Bimala could not even say sorry to Nikhil for her wrong deeds.

The conclusion of The Home and the World shows Tagore's talent in describing deep emotions and the complexities of human nature. It reminds us of balance, empathy, and looking within ourselves in a world that struggles with old and new ways, personal desires, and social responsibilities. Ultimately, Tagore's book teaches us that the journey to self-discovery and improving the world takes work. But we can find harmony and grow together by understanding, caring, and taking the time to understand one another. The Home and the World is a timeless story that forces us to think about the ups and downs of relationships, the impact of beliefs, and the universal search for who we are and where we belong. The psychological pain that Bimala goes through as she negotiates the complications of love, duty, and self-discovery is expertly portrayed by Tagore. The story explores the importance of identity, gender roles, and the effects of personal decisions during political and domestic instability from her point of view

Words:-1765

Image:-3

Thank you 

Susan Character Study

Hello,

       This Blog is an Assignment of paper no.: 203- The Postcolonial Studies  In this assignment I am discussing Character Study of Susan. 

Personal Information 

Name:- Mansi B. Gujadiya

Roll Number:-12

Enrollment Number:-4069206420220013

Batch:-M.A SEM -3( 2022-23 )

Email ID:- mansigajjar10131@gmail.com

Paper Number:-203

Paper Code:-22408

Paper Name:-The Postcolonial Studies 

Submitted to:- English department MKBU

Topic:- Susan Character Study 

Introduction

Foe, published in 1986, is the fifth novel of South African writer J. M. Coetzee who won the Nobel Prize in 2003 and the Booker Prize twice. Foe, set in the 18th century, is a poignant contemporary rewriting of Daniel Defoe’s Robinson Crusoe. It tells a story about how Susan, a female castaway and a character absent in Defoe’s original text, challenges Crusoe and Foe, and how she pursues the right to speak for Friday. Through depictions of Susan’s complex relationships with Crusoe, Foe and Friday, Susan’s marginal status is especially noticeable. Hence, this blog attempts to explore Susan’s de-marginalization in Foe from the perspective of feminism through the analysis of the crescendo of female voice and Susan’s quest for authorship.

The novel finally focuses on Susan’s failure to tell Friday’s story and her complete submission to patriarchal system, however, in the process, the increasing feminist awareness of Susan Barton and Susan’s de-marginalization can be seen as a successful point. She challenges patriarchal authority through the crescendo of her voice from silence to cry-out and her transformation from “the Other” to “the Self”.

Literature Review

Foe, the rewriting of Robinson Crusoe, has attracted great attention from home and abroad. Numerous researchers have conducted a variety of studies from the perspectives of post-colonialism, feminism, deconstruction and intertextuality.

Susan’s De-Marginalization

The Crescendo of Susan’s Voice: Transformation from Femininity to Existential Choice

“Crescendo” is a musical term. It metaphorically refers to a gradually loud Susan’s voice in Foe. This section aims to explore Susan’s De-marginalization through the analysis of the crescendo of Susan’s voice. Her voice changes from silence to cry-out illustrating her transformation from holding back to having the courage to face patriarchy, which means Susan transcends femininity constructed by patriarchy society and voices for her true self. It is actually a way of de-marginalization.

Susan’s Silence

In Foe, Crusoe’s island is a metaphor for patriarchal society, and Crusoe represents patriarchal domination. Susan, a female in a marginal status, thus chooses to be silent when facing male authority. For example, before Crusoe goes out to make a routine inspection of the island, he gives Susan a knife for self-defence and demands Susan not to leave his residence, yet the reason given by Crusoe is that the apes outside are not afraid of women. And he even said to Susan “while you live under my roof you will do as I instruct!” . Then, Susan complies with Crusoe’s request to stay in his castle. It conjures up the concept “female domain”, which emerges because the industrial revolution led to the emergence of different domains of activity for men and women  . The female domain emphasised femininity, where it is generally accepted that women should fulfil their roles as wives and mothers and that, in the home, women must be pure, pious, gentle, kind and obedient, and more than that, women are inherently fragile, incompetent and innocent, thus male protection is needed to protect them from the evils of society  . Because of this femininity constructed by social and matriarchal system at that time and her marginal status as a newly arrived and female, Susan is unable to be completely independent and separate from Crusoe, thus she choose to be silent and become a “woman” under the patriarchal rule, and still cannot carve out an authentic existence for herself, choosing what she wants to be. However, it does not mean that Susan’s voluntary silence is a complete submission to male authority; her feminine consciousness actually keeps in the process of awakening.

 Susan’s Cry-Out

Although Susan is under patriarchal rule, represented by Crusoe, she is still boldly in revolt. Her voice gradually changes from silence to cry-out, for instance, Susan’s request for a pair of shoes. Susan has no extra clothes or shoes, and she cannot always walk without shoes. But when she repeatedly asks Crusoe, Crusoe shows his reluctance several times, only asking Susan to be more patient because he would make a good pair of shoes for her, then there remains no action. When Susan retorts to Crusoe in the rough sandals she has made by herself, “patience has turned me into a prisoner” , Crusoe throws away all of the materials left in exasperation. Ren (2014) considers the image of shoes as “a marker for civilization”, because it is Adam and Eve who are enlightened and understand shame and so cover their naked bodies with clothing, hence shoes in here become the symbol of civilization  . However, this study tends to take the image of shoes as a representation of discourse power, not just civilization. In Crusoe’s patriarchal rule, shoes are made by men and given to women, just as men forcibly give women certain characteristics. Susan’s decision to make her own shoes is a reflection of her voice “cry-out” and struggle for discourse power. This example illustrates that Susan realises her marginalised status, and her stronger feminine consciousness makes her voice for her true self and transcends patriarchal structure. It is actually a great progress in carving out an authentic existence for herself and de-marginalizing.

In short, Susan’ gradual loud voice from silence to cry-out shows the awakening process of her feminine consciousness. She tries to get rid of marginal status and the femininity given by patriarchal society, transcending traditional rule and making a new existential choice to be truly self.

Susan’s Quest for Authorship: Transformation from “the Other” to “the Self”

The quest for authorship of Susan actually has gone through a process of development, from the submission to traditional female status to her query about patriarchal authority of male writers then to her quest for her own authorship. This section aims to explore the process of Susan’s quest for authorship and analyse how she transforms from “the Other” to “the Self” and achieve the goal of demarginalization.

Susan’s Submission to Traditional Female Status

In The Second Sex, Beauvoir argues that men set themselves up in the role of the subject and name women as “the Other''. Women are constructed by men, by whole social structures and traditions. Women’s creative potential has been suppressed by the patriarchy, while men control “truth” and power. As a result, women have lost their vitality and become “the Other ''. In Foe, It is after Susan’s talk with the captain on her voyage back, she is encouraged by him to turn her island experience into a story, a truthful story. It is a story you should set down in writing and offer to the booksellers  . The captain’s words have intrigued in her the idea of narrating the island story. But as a woman in the patriarchal society, Susan is not confident of her creative ability from the very beginning. She thinks the only way is to find a writer for her to finish this task, thus she seeks help from Mr. Foe. From this example, Susan’s subconsciousness of seeking for male writer’s help illustrates Susan's submission to her traditional female status and to be “the Other”. To some extent, this patriarchal norm suppresses women's attempts and creativity in writing.

 Susan’s Query about Patriarchal Authority of Male Writers

Because of Susan’s submission to her traditional female status and lack of confidence at the beginning, she asks Mr. Foe for help. However, in her contact with Foe, she becomes less and less trustful of his ability and work. Thus, Susan begins to query about the male writer’s authority. Foe tries to explore more details of their story on the island in order to make the story more intriguing. His version includes five parts: “the loss of the daughter; the quest for the daughter in Brazil; abandonment of the quest, and the adventure of the island; assumption of the quest by the daughter; and reunion of the daughter with her mother”. He argues that the island story lacks variety and it should be written as a mere section of his version. He even tends to add episodes which do not actually exist in her story. On the contrary, Susan considers it unnecessary to reveal a whole history of her existence, and she is against his construction of the story which fails to tell the truth. From this example, it can be seen that under the control of Foe’s patriarchal authority, Susan realises that her life is determined by Foe’s authorship and authority, and thus it has become a story without anything left. Susan’s query about Foe’s authority means that her role of “the Other” begins to be changed and her attempt to break through to marginalised status. She gradually transforms from “the Other” to “the Self”.

Susan’s Quest for Her Own Authorship

According to Beauvoir, “the Self” is active and knowing, whereas “the Other” is all that “the Self” rejects: passivity, voicelessness, and powerlessness. In the process of Susan’s quest for authorship, she actually has transformed from “the Other” to “the Self”. Susan, as a woman in a marginalised status, hopes to narrate her story according to her own will, but she discovers that Foe always indulges in outrageous adaptation of her story. Foe ignores the truth of her narrative and divides the story into five parts, and thus Susan is against his conception. “I lived there too, I was no bird of passage, no gannet or albatross, to circle the island once and dip a wing and then fly on over the boundless ocean. Return to me the substance I have lost, Mr Foe: that is my entreaty”  . Susan determines to trace her lost substance by relating her island story. She challenges the patriarchal authority and is eager to gain the true substance by relating her own story. She struggles against gender inequality in the patriarchal discourse and attempts to recover the right to speak for the marginalised group. The opposition between Susan and Mr. Foe for the discourse power of the story is the embodiment of female writers’ struggle in the patriarchal society, which has a great significance to the subversion of authorial authority.

 Conclusions

With the assistance of Beauvoir’s existential feminism, this is attempts to explore Susan’s de-marginalization in novel Foe through analysing the crescendo of Susan’s voice and Susan’s quest for authorship.

By examining the crescendo of Susan’s voice, the study finds that Susan’s voice changes from silence to cry-out illustrating her transformation from holding back to having the courage to face patriarchy, which means Susan transcends femininity constructed by patriarchy society and voices for her true self. Besides, the process of Susan’s quest for authorship shows Susan’s transformation from “the Other” to “the Self”.

Susan’s gradual loud voice from silence to cry-out and the process of Susan’s quest for authorship illustrate that the process of her de-marginalization in patriarchal society is successful because of the awakening of her feminine consciousness and her transformation from “the Other” to “the Self” during the process. 

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Three Prose Writers

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       This Blog is an Assignment of paper no.: 202 -Indian English Literature -Post- Independence  In this assignment I am discussing Three Prose Writers.

Personal Information 

Name:- Mansi B. Gujadiya

Roll Number:-12

Enrollment Number:-4069206420220013

Batch:-M.A SEM -3( 2022-23 )

Email ID:- mansigajjar10131@gmail.com

Paper Number:-202

Paper Code:-22407

Paper Name:- Indian English Literature -Post- Independence 

Submitted to:- English department MKBU

Topic:- Three Prose Writers 

Sarvepalli Radhakrishnan

Sarvepalli Radhakrishnan, (5 September 1888 – 17 April 1975) was an Indian philosopher and statesman who served as the second president of India from 1962 to 1967. 

One of the most distinguished twentieth-century scholars of comparative religion and philosophy, Radhakrishnan held the King George V Chair of Mental and Moral Science at the University of Calcutta from 1921 to 1932 and Spalding Chair of Eastern Religion and Ethics at University of Oxford from 1936 to 1952.

Radhakrishnan's philosophy was grounded in Advaita Vedanta, reinterpreting this tradition for a contemporary understanding. He defended Hinduism against what he called "uninformed Western criticism", contributing to the formation of contemporary Hindu identity. He has been influential in shaping the understanding of Hinduism, in both India and the west, and earned a reputation as a bridge-builder between India and the West.

Radhakrishnan was awarded several high awards during his life, including a knighthood in 1931, the Bharat Ratna, the highest civilian award in India, in 1954, and honorary membership of the British Royal Order of Merit in 1963. He was also one of the founders of Helpage India, a non profit organisation for elderly underprivileged in India. Radhakrishnan believed that "teachers should be the best minds in the country". Since 1962, his birthday has been celebrated in India as Teachers' Day on 5 September every year.

Radhakrishnan did not have a background in the Congress Party, nor was he active in the struggle against British rules. He was a politician in shadow. His motivation lay in his pride of Hindu culture, and the defence of Hinduism against "uninformed Western criticism". According to the historian Donald Mackenzie Brown,

"He had always defended Hindu culture against uninformed Western criticism and had symbolised the pride of Indians in their own intellectual traditions."

Teacher's Day 

When Radhakrishnan became the President of India, some of his students and friends requested him to allow them to celebrate his birthday, on 5 September. He replied,

"Instead of celebrating my birthday, it would be my proud privilege if September 5th is observed as Teachers' Day."

His birthday has since been celebrated as Teacher's Day in India.

Works by Radhakrishnan

•  The philosophy of Rabindranath Tagore (1918), Macmillan, London, 294 pages
• Indian Philosophy (1923) Vol.1, 738 pages. (1927) Vol 2, 807 pages. Oxford University Press.
• The Hindu View of Life (1926), 92 pages
• Indian Religious Thought (2016), Orient Paperbacks, ISBN 978-81-222042-4-7
• Religion, Science and Culture (2010), Orient Paperbacks, ISBN 978-81-222001-2-6
• An Idealist View of Life (1929), 351 pages
• Kalki, or the Future of Civilization (1929), 96 pages
• Eastern Religions and Western Thought (1939), Oxford University Press, 396 pages
• Religion and Society (1947), George Allen and Unwin Ltd., London, 242 pages
• The Bhagavadgītā: with an introductory essay, Sanskrit text, English translation and notes (1948), 388 pages
• The Dhammapada (1950), 194 pages, Oxford University Press
• The Principal Upanishads (1953), 958 pages, HarperCollins Publishers Limited
• Recovery of Faith (1956), 205 pages
• A Source Book in Indian Philosophy (1957), 683 pages, Princeton University Press, with Charles A. Moore as co-editor.
• The Brahma Sutra: The Philosophy of Spiritual Life. London: George Allen & Unwin Ltd., 1959, 606 pages. 
• Religion, Science & Culture (1968), 121 pages

Philosophy

Radhakrishnan tried to bridge eastern and western thought, defending Hinduism against "uninformed Western criticism", but also incorporating Western philosophical and religious thought.

Advaita Vedanta 

Radhakrishnan was one of the most prominent spokesmen of Neo-Vedanta. His metaphysics was grounded in Advaita Vedanta, but he reinterpreted Advaita Vedanta for a contemporary understanding. He acknowledged the reality and diversity of the world of experience, which he saw as grounded in and supported by the absolute or Brahman. Radhakrishnan also reinterpreted Shankara's notion of maya. According to Radhakrishnan, maya is not a strict absolute idealism, but "a subjective misperception of the world as ultimately real."

Intuition and religious experience 

"Intuition", synonymously called "religious experience", has a central place in Radhakrishnan's philosophy as a source of knowledge which is not mediated by conscious thought. His specific interest in experience can be traced back to the works of William James (1842–1910), F. H. Bradley (1846–1924), Henri Bergson (1859–1941), and Friedrich von Hügel (1852–1925),[34] and to Vivekananda (1863–1902),[39] who had a strong influence on Sarvepalli's thought. According to Radhakrishnan, intuition is of a self-certifying character (swatahsiddha), self-evidencing (svāsaṃvedya), and self-luminous (svayam-prakāsa). In his book An Idealist View of Life, he made a powerful case for the importance of intuitive thinking as opposed to purely intellectual forms of thought. According to Radhakrishnan, intuition plays a specific role in all kinds of experience.

Radhakrishnan discernes five sorts of experience:

1. Cognitive Experience:

• Sense Experience
• Discursive Reasoning
•  Intuitive Apprehension

2. Psychic Experience

3. Aesthetic Experience

4. Ethical Experience

5. Religious Experience

Classification of religions

For Radhakrishnan, theology and creeds are intellectual formulations, and symbols of religious experience or "religious intuitions". Radhakrishnan qualified the variety of religions hierarchically according to their apprehension of "religious experience", giving Advaita Vedanta the highest place:

• The worshippers of the Absolute
• The worshippers of the personal God
• The worshippers of the incarnations like Rama, Kṛiṣhṇa, Buddha
• Those who worship ancestors, deities and sages
• The worshippers of the petty forces and spirits

Radhakrishnan saw Hinduism as a scientific religion based on facts, apprehended via intuition or religious experience. According to Radhakrishnan, "if philosophy of religion is to become scientific, it must become empirical and find itself based on religious experience". He saw this empiricism exemplified in the Vedas:

The truths of the ṛṣis are not evolved as the result of logical reasoning or systematic philosophy but are the products of spiritual intuition, dṛṣti or vision. The ṛṣis are not so much the authors of the truths recorded in the Vedas as the seers who were able to discern the eternal truths by raising their life-spirit to the plane of universal spirit. They are the pioneer researchers in the realm of the spirit who saw more in the world than their followers. Their utterances are not based on transitory vision but on a continuous experience of resident life and power. When the Vedas are regarded as the highest authority, all that is meant is that the most exacting of all authorities is the authority of facts.

From his writings collected as The Hindu View of Life, Upton Lectures, Delivered at Manchester College, Oxford, 1926: "Hinduism insists on our working steadily upwards in improving our knowledge of God. The worshippers of the absolute are of the highest rank; second to them are the worshippers of the personal God; then come the worshippers of the incarnations of Rama, Krishna, Buddha; below them are those who worship deities, ancestors, and sages, and lowest of all are the worshippers of petty forces and spirits. The deities of some men are in water (i.e., bathing places), those of the most advanced are in the heavens, those of the children (in religion) are in the images of wood and stone, but the sage finds his God in his deeper self. The man of action finds his God in fire, the man of feeling in the heart, and the feeble minded in the idol, but the strong in spirit find God everywhere". The seers see the supreme in the self, and not the images."

To Radhakrishnan, Advaita Vedanta was the best representative of Hinduism, as being grounded in intuition, in contrast to the "intellectually mediated interpretations" of other religions. He objected charges of "quietism" and "world denial", instead stressing the need and ethic of social service, giving a modern interpretation of classical terms as tat-tvam-asi. According to Radhakrishnan, Vedanta offers the most direct intuitive experience and inner realisation, which makes it the highest form of religion:

The Vedanta is not a religion, but religion itself in its most universal and deepest significance."

Radhakrishnan saw other religions, "including what Dr. S. Radhakrishnan understands as lower forms of Hinduism," as interpretations of Advaita Vedanta, thereby Hinduising all religions.

Although Radhakrishnan was well-acquainted with western culture and philosophy, he was also critical of them. He stated that Western philosophers, despite all claims to objectivity, were influenced by theological influences of their own culture.

Awards and honours 

Civilian honours 

National 

India:

• Bharat Ratna Ribbon.svg Recipient of the Bharat Ratna (1954)

 British India:

• Knight Bachelor Ribbon.png Knight Bachelor (1931), ceased to use the pre-nominal of Sir in 1947 following India's independence.

Foreign 

 Germany:

• D-PRU Pour le Merite 1 BAR.svg Recipient of the Pour le Mérite for Sciences and Arts (1954)

Mexico:

• MEX Order of the Aztec Eagle 1 Class BAR.png Sash First Class of the Order of the Aztec Eagle (1954)

United Kingdom:

• Order of Merit (Commonwealth realms) ribbon.png Member of the Order of Merit (1963)

Other achievements 

• A portrait of Radhakrishnan adorns the Chamber of the Rajya Sabha.
• 1933–37: Nominated five times for the Nobel Prize in Literature.
• 1938: elected Fellow of the British Academy.
• 1961: the Peace Prize of the German Book Trade.
• 1962: Institution of Teacher's Day in India, yearly celebrated on 5 September, Radhakrishnan's birthday, in honour of Radhakrishnan's belief that "teachers should be the best minds in the country".
• 1968: Sahitya Akademi fellowship, The highest honour conferred by the Sahitya Akademi on a writer (he is the first person to get this award)
• 1975: the Templeton Prize in 1975, a few months before his death, for advocating non-aggression and conveying "a universal reality of God that embraced love and wisdom for all people." He donated the entire amount of the Templeton Prize to Oxford University.
• 1989: institution of the Radhakrishnan Scholarships by Oxford University in the memory of Radhakrishnan. The scholarships were later renamed the "Radhakrishnan Chevening Scholarships".

He was nominated sixteen times for the Nobel prize in literature, and eleven times for the Nobel Peace prize.

 Radhakrishnan on a 1989 stamp of India

N. RAGHUNATHAN 

The little known story teller of The Hindu

The 'edit writer of The Hindu’ for 31 years. N. Raghunathan, who died in 1982, was also a brilliant writer of short stories and plays, capturing in authentic Thanjavur Tamil.

The world of journalism knew him as the ‘edit writer of The Hindu’ for 31 years. N. Raghunathan, who died in 1982, was also a brilliant writer of short stories and plays, capturing in authentic Thanjavur Tamil the disintegration of feudalism and social structure constructed in the face of modernism in the beginning of the 20th century.

The natural storyteller in Raghunathan transcends life in agraharam and he could describe the entire society with a unique style, punctuated with rich imagery, possible only for a keen observer of his surroundings.

He uses the phrase “cactus milk” to describe the density of the Thanjavur degree coffee, likens the face of an embarrassed character to “ pontha kalayam ” (mud pot with holes) and colour of a river in spate as “ kaaka’ colour, the colour of a crow. But his description of the patterns inside the Thespesia flower ( Poovarasu ) to the emergence of the lotus from the navel of Lord Vishnu will elevate the status of the odourless flower to a new level.

His in-depth knowledge of both ancient Tamil literature and western classics, including his favourite writer Dostoevsky, finds expression in all the 18 stories he wrote under the pen name “ Raskian ” in Bharatha Mani , a magazine run by his friend K.C. Venkatramani between 1938 and 1948.

He published his short story collection in 1962, and in 2006 Tamizhini released Rasikan Kathaikal which included his four plays and one of Sotto Voce articles in English by him under the name Vigneswara.

“I used to write articles for Bharatha Mani . I wrote short stories on his insistence,” Raghuanthan had said in the preface to the short story collection. He also worked for the Daily Express , and in 1926, joined The Hindu.

“He was the most brilliant editor of Indian journalism and not just of The Hindu ,” said N. Ram, Chairman of the Kasturi and Sons Ltd.

A. Sathish, a Tamil professor and editor of Rasikan Kathaikal, had said Ragunathan stood out among his contemporaries with his technique of literary and oral tradition.

“He probably is the first Brahmin to write about envy, perversion, violence and glee lurking in the subconscious human mind. That could be the reason for him not getting his place in Tamil literature while he was celebrated as a great writer in English,” he said.

Raghunathan had a clear idea about fiction. “A fiction writer will succeed only if he empathises with his character. But he cannot affect the individuality of his characters,” he had remarked.

“You feel like entering into a world destroyed long ago. Even though he used manipravalam (a mix of Tamil and Sanskrit) it never hindered the flow of his language,” said writer Yuvan Chandrasekar, in his foreword to the republished short story collection.

Works

• in English and held by 12 WorldCat member libraries worldwide
• The Rāmāyaṇa of Vālmīki by Vālmīki( Recording )
• in English and held by 7 WorldCat member libraries worldwide
• This Ramayana production combines the inner bliss of Vedic literature with the outer richness of delightfully profound story telling
• The Avadi socialists by N Raghunathan( Book )
• 2 editions published in 1964 in English and held by 7 WorldCat member libraries worldwide
• Our new rulers by N Raghunathan( Book )
• 2 editions published in 1961 in English and held by 6 WorldCat member libraries worldwide
• The concept of dharma in the Itihāsas and the Purānas by N Raghunathan( Book )
• 5 editions published between 1954 and 1956 in English and held by 6 WorldCat member libraries worldwide

Nirad Chandra Chaudhuri 

Nirad Chandra Chaudhuri CBE (23 November 1897 – 1 August 1999) was an Indian writer.

In 1990, Oxford University awarded Chaudhuri, by then a long-time resident of the city of Oxford, an Honorary Degree in Letters. In 1992, he was made an honorary Commander of the Order of the British Empire.

Books by Nirad Chaudhary

• The Autobiography of an Unknown Indian (1951)
• A Passage to England (1959)
• The Continent of Circe (1965)
• The Intellectual in India (1967)
• To Live or Not to Live (1971)
• Scholar Extraordinary, The Life of Professor the Right Honourable Friedrich Max Muller, P.C. (1974)
• Culture in the Vanity Bag (1976)
• Clive of India (1975)
• Hinduism: A Religion to Live by (1979)
• Thy Hand, Great Anarch! (1987)
• Three Horsemen of the New Apocalypse (1997)
• The East is East and West is West (collection of pre-published essays)
• From the Archives of a Centenarian (collection of pre-published essays)
• Why I Mourn for England (collection of pre-published essays)

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