Devangini vyas Blog

 This task is given by Dilip Barad Sir,  Task Link What is Anthropocene? he term Anthropocene refers to the current unofficial geological age defined by the significant and widespread impact of human activity on Earth's geology and ecosystems.  Coined and popularized by atmospheric chemist Paul Crutzen in 2000, the concept highlights humanity's emergence as a major planetary force. The word combines the Greek  anthropos  ("human") and  kainos  ("new"). In this blog i put some images of Anthropocene documentry 2018. 1. Defining the Epoch Q: Do you think the Anthropocene deserves recognition as a distinct geological epoch? Why or why not, and what are the implications of such a formal designation? Yes, the Anthropocene deserves recognition as a distinct epoch because human activity has reached a level where it permanently alters Earth’s geology and ecosystems. The mid-twentieth century, with the explosion of fossil fuel use, nuclear testing, plastic wast...

This task is given by Prakruti ma'am.                              1) Time and Space in the Play In Final Solutions, time is not just about “then” and “now.” The play moves between the past and present, showing how old wounds of Partition continue to shape today’s lives. The memories of Daksha (later Hardika) remind us that communal hatred is not new—it keeps coming back in cycles. The space of the play is also powerful. Most of the action happens inside the Gandhi family’s house. But this house is never just a home—it becomes a place where personal history, community conflict, and political debates clash. Through the chorus, we feel the presence of the mob outside. This way, Dattani makes the stage a meeting point of the private and the public. When I performed, I realized how the stage itself became “fluid.” Sometimes the living room felt safe, but the same space could suddenly feel threatening when voices...

 This blog task is given by Dilip Barad Sir, Three Talks by Chimamanda Ngozi Adichie: Stories, Equality, and Truth Chimamanda Ngozi Adichie (born Grace Ngozi Adichie;15 September 1977) is a Nigerian writer of novels, short stories, poem, and children's books; she is also a book reviewer and literary critic. Her most famous works include Purple Hibiscus (2003), Half of a Yellow Sun (2006), and Americanah (2013). She is widely recognised as a central figure in postcolonial feminist literature. Introduction In three of her most powerful talks—The Danger of a Single Story, We Should All Be Feminists, and On Truth, Post-Truth & Trust—Chimamanda Ngozi Adichie offers compelling reflections on narrative, equality, and honesty. As a Nigerian novelist and global voice for justice, she blends personal storytelling with cultural critique to challenge her audience’s assumptions and inspire action. Summary The Danger of a Single Story Adichie shares how people’s perceptions are often shaped ...

 This blog task is given by Dilip Barad Sir,  Teacher's Link Introduction: Mira Nair’s The Reluctant Fundamentalist (2012), adapted from Mohsin Hamid’s 2007 novel, is more than a post-9/11 thriller—it is a meditation on empire, hybridity, and the uneasy negotiations between selfhood and global power structures. Approaching the film through the lens of Ania Loomba’s reflections on the “New American Empire” and Hardt & Negri’s Empire, this blog traces my journey through pre-watching theory, active viewing, and post-screening reflection. It is both an academic engagement and a personal reckoning with how globalization, suspicion, and cross-cultural contact play out in narrative and cinematic form. Pre-Watching: Entering the Frame Reading the World Before the Film Loomba reminds us that in today’s global order, imperial power doesn’t just flow from a single “center” to a “margin”—it’s everywhere: in our brands, our newsfeeds, our languages. Hardt & Negri call this Empire, ...

 This task is given by  Dilip Barad Sir,  In this task i explain two video lectures and learning outcomes from the discussion. Video 1 Narrative Technique in Midnight's Children: Salman Rushdie’s Midnight’s Children stands as a remarkable fusion of narrative traditions, blending the structural discipline of Western realism with the layered, fluid storytelling of Indian and broader Eastern oral traditions. While Western realism adheres to Aristotelian cause-and-effect logic and linear progress, Eastern storytelling embraces complexity through frame narratives and stories within stories—techniques seen in Russian dolls, Chinese boxes, and classical Indian texts like the Panchatantra, Kathasaritsagara, and Vikram-Betal. These traditions defy straightforward realism, inviting readers into a world of layered perspectives and shifting truths. Rushdie’s novel channels this hybrid tradition to reflect the postcolonial identity of India—multiple cultural influences colliding and c...

 This task is given by Dilip Barad Sir,  Teacher's Blog link This blog is based on the film screening of Midnight’s Children – as a part of worksheet on cinematic adaptation of Salman Rushdie’s Booker Prize-winning novel. 1. Before the Screening – Framing the Inquiry Before entering the world of Saleem Sinai, it’s important to consider some foundational questions: Who shapes history — the ruling power or those pushed to its margins? Official histories often come from the perspective of the powerful, leaving alternative memories suppressed. In Midnight’s Children, Saleem’s personal history resists this authority by blending his private experiences with national events. What binds a nation together — territory, governance, shared culture, or collective memory? Rushdie’s narrative suggests that memory, even when fragmented or contested, is the glue that makes a nation more than a political map. Can English be remade into an Indian language? Introduced under colonial rule, English...