Sunday, 22 July 2012
The Horrors of Higher Education
Sunday, 4 July 2010
Yeut Matchar Kyah!! ( What Frenzy is this?)
Tuesday, 18 May 2010
Aasie tcha tchetch! ( Is it only our distress!)
Friday, 9 April 2010
Urgent Notice.
The following students of Section 12, Group B are requested to call or meet me in person in my office latest by April 10, 2010, 17:OO Hours.
09MA2001
09MI2030
In case they are not part of this group or don`t visit the blog page. I would request their friends/students who know them to inform them.
Best
Wednesday, 31 March 2010
Friday Class
The class timings on Friday, 02 April 2010, are different than the usual ones because it is a holiday, and I suppose you are all relatively free on this date.
The Time and Venue for this class is 10:30 am, Friday 2 April 2010 at (V3 Vikramshila).
All the Best
Friday Class.
We will have a class on Friday as posted yesterday, and MAY decide a new test date in the class as some students have certain issues with the date.
No individual queries in this regard shall be replied.
Thank You
Tuesday, 30 March 2010
VERY VERY URGENT.
There WILL BE A COMMON TUTORIAL for BOTH THE SECTIONS on Friday, 2 April 2010. You are requested to be in the class (V3 Vikramshila) at 10:30 am. On Saturday, 3 April 2010 you will have your last tutorial of the Semester...So a brief assessment test will be taken on the final day. I hope you will
prepare well. The assessment test is intended to test your knowledge of Grammar, and reading comprehension.
Please read the material under following links for your tutorial exams:
Saturday, 13 March 2010
FOR MONDAY 22 MARCH,2010.
Friday, 30 October 2009
Derrida, Lacan and ZG Mohammad: An Intellectual found!
Contrary to the traditional “keep it simple” rule, a good number of modern writers are accused of hinging their writings on obscurity and ambiguity making great demands on a reader to understand them. I remember my first encounter, with two great French intellectuals of the twentieth century, Jacques Derrida, and Jacques Lacan, when I was pursuing my Masters in English Literature. I would wake up weeping at 3am with nightmares about trying to understand them. Both have a writing style that is obscure, to say the least, apparently bordering on gibberish, at worst. As the angry critics have already announced, when you pick up Derrida and Lacan for the first time you will find a text which is dense, convoluted, elliptical and seemingly impenetrable, even by the most demanding standards of the current critical academy. Their impassable writing style is partly ascribed to their content: Derrida attempted a deconstruction of the whole of Western philosophy, and Lacan dealt with the human Unconscious. When the subject is grand, the style itself becomes dense and intense. My trouble with reading the great French men did not last long. I am now, more or less, comfortable with their peculiar writing style- a consummation that I devoutly wished for in my Masters. But Lacan and Derrida are not alone in creating this wilful obscurity, there are others also, in fact more impenetrable and incomprehensible than them. I am proud that my land, Kashmir, has produced one such genius of a writer, ZG Mohammad: a famous Greater Kashmir columnist whose iconoclastic writing style should go down in the history of English writing as the greatest manifestation of profound obscurity and sincere incongruity.
A legitimate measure of the influence of a thinker or writer on a discipline is the extent to which s/he transforms its customs, protocols and practices in a manner that makes it difficult to conceive how things were done before s/he appeared on the scene. Such transformations and changes are usually incorporated into the discipline and presupposed by those who come later. This explains why we often have a thankless relationship with the most influential thinkers. By definition then, great intellectuals are often those who change the way we do things in a peculiarly thankless way. But we should not maintain a thankless relation with our intellectual thinker, ZG Mohammad. He may not know it, as greatness is never apparent to itself, but we know that he has made a remarkable contribution to the writing style of English by introduction of a new form of writing. This is amply demonstrated by his recent Punchline in the daily Greater Kashmir, August 10, 2009.
I read the essay (should I call it an essay?) over a hundred times as every new reading provided a new dimension of “joy” that was soon to become hysterical . Unable to decipher the style, I asked my friends to read it, teachers were also invoked for help and inspiration, but, ultimately, only to add more confusion and obscurity. Then, finally, his own writing provided a key to the mystery.
Whether one agrees or disagrees with his political outlook the writings and noting of Ambassador Yusuf Buch are a part of Kashmir’s political literature that have could be seen as good as Edward Said’s works on Palestine. His works on Kashmir need to be compiled, researched and preserved. (GK, 10 August,2009)
Whether one cares about the writings and “noting” of Buch, one must take sufficient care to preserve the writing of ZG Mohammad. In his vain search for the Edward Said of Kashmir, he has made a remarkably great contribution to the writing style that can only be pronounced as “miraculous.” His style is continuous like the flow of the river Lidder. Inversely inspired by Raja Rao, Mohammad`s style is interminable. He has neither punctuation nor the treacherous prepositions to bother him. Episode follows episode, and when his thoughts stop, his sentence stops. His Paragraphs try to explore an idea, or tell a tale, but fail as the most heterogeneous events are yoked together by violence, ultimately, availing nothing, affecting nothing.
His peculiar style of writing incorporates explanations which are irrelevant. Titles of books and articles are not italicised, underlined or kept in inverted commas. He has mastered the art of writing multi-clause sentences without any provisions for a pause. Comma is rarely used- economic recession has affected its usage also, or does it carry the dreadful H1N1 virus? I have no answers. Mohammad enjoys the liberty of conferring greatness on Ghada Karmi, a Palestinian doctor of medicine, author and academic, without reading any of her writings. “Face of Kashmir” to him is “Kashmiri Face”, “Kashmiri Diasporas”, like many other terms is a novel coinage by him. He honours no difference between “on” and “in”: he seems to interchange them on impulse. He makes pronouns dance to the beats of this writings; they live off the false hopes of their nouns’ arrival. A quotation mark opens and remains open for its entire life. In his democratic writing style, clauses are not separated. It does not honour main and subordinate clauses.
The writer`s search for an intellectual voice for the problem of Kashmir may not be a viable one, but we have got our intellectual: the Kashmiri equivalent to Lacanian style of writing. Except that in the case of Lacan or Derrida, their translators have made sure to have got the grammar right. I am not being perverse. But the only density I could spot in his writing was that of grammatical bankruptcy. What’s more? I wonder what was the editorial team doing? Derrida and Lacan were actually trying to explore pertinent and profound issues which they did offer clues about. When one reads them in depth, one does identify the layers within which their content posits itself. Not the case with Mr Mohamed. I wonder why.Saturday, 20 June 2009
INTONATION IN ENGLISH
Friday, 19 June 2009
No racism in Australia
Wednesday, 25 February 2009
New Wo (Man)!!!???
Saturday, 14 February 2009
Expressing Emotions
Saturday, 6 September 2008
What did they actually want to assess?
Friday, 8 February 2008
Death of the Teacher
Tuesday, 11 December 2007
A STYLISTIC ANALYSIS OF WILLIAM SHAKESPEAR`S SONET: WINTER
A piece of literature largely depends on thought and style. The concept of style in literature is the product of abstraction in the sense that style is based on a special and unique use of language. It is just one quality contained in any piece of writing. The style of a novel, a play, an essay or a poem is only one part of its totality.
The study of style has been in use in German, French and English since the early 19th
century. In the early sixties of the 20th century M.A.K.Halliday introduced the term
'linguistic stylistics'. The main concern of descriptive linguistics is the systematic study of
that part of human behavior called language.
William Wordsworth in Lyrical Ballads (1798) suggested that poetry should deal with the experience of those living close to Nature, especially in the country. It could be "the language of conversation in the middle and lower classes of society.. "
Long before the Poet of Nature came on the scene, Shakespeare brought the language close to those who dwelt in the country. Hence my selection of this particular poem. Keeping in mind all these concepts we can attempt a lexical analysis of the poem composed in the inimitable style of Shakespeare.
Text of the poem: Winter
'When icicles hang by the wall,
And Dick the shepherd blows the nail,
And Tom bears logs into the hall,
And milk comes frozen home in pail
When blood is nipt and ways be foul,
Then nightly sings the staring owl
Tuwhoo!
Tuwhit, tuwhoo!
A merry note!
While greasy Joan doth keel the pot,
When all around the wind doth blow,
And coughing drowns the parson's saw,
And birds sit brooding in the snow,
And Marian's nose looks red and raw,
When roasted crabs hiss in the bowl
Then nightly sings the staring owl
Tuwhoo !
Tuwhit ! tuwhoo! A merry note
While greasy Joan doth keel the pot'.
The poem begins with adverb of time "when" and goes on to use 'when', 'then' and'while', a total of light occurrences. These adverbs render the idea of time and space to the narration. The place is evidently a cottage in the country.
Shakespeare the dramatist provides an interesting dramatic touch with the appearance of characters within and outside the humble house. Dick the shepherd, Tom (must be the son), Joan (of course the wife), parson and Marian. Birds, crabs and the owl complete the picture.
Nominals used for winter:
Icicles Snow Wind
A typical pastoral cottage is described with special register words :
Wall milk Nail pail Hall bowl Logs pot Greasy roasted
Language activity is related to each character:
'Dick the shepherd blows his nail'
'Tom bears logs into the house'
'Greasy Joan doth keel the pot '
The coughing parson'
Marian with a nose red and raw with cold.
In addition to human beings the poet uses the language to bring into focus other creatures like 'roasted crabs'. Even the owl and the birds are engaged in their appointed language activity.
'And birds sit brooding in the snow' 'Then nightly sings the staring owl'
'Brooding birds' and 'sings the staring owl' are alliterative as well as unusual collocations.
The poet attributes human situations like 'brooding' and 'staring' to feathered creatures.
More unusual collocations:
'greasy Joan'
'roasted crabs hissing'
Pots and pans can be greasy but here 'greasy Joan' is a picturesque presentation. Can crabs hiss in the bowl? But it is the poet's prerogative to assign any action to anyone by keeping his inventions under the spell of his language, and without offering any reason! There is a great variety of lexical items in such a short poem. Persons, objects, seasons and surroundings have been artistically blended with words and phrases. The attention of the reader is drawn with appreciation to colorful images, epithets, suitable register words and other poetic devices.
Irony as a poetic device is used in 'merry note' while the song of the owl in such
an atmosphere can hardly be merry !
There is no dearth of sounds in the poem. We find a wealth of phonological material here.But we will not go into details as this analysis is mainly confined to lexical items.
Sounds: coughing hissing tuwhoo tuhoo
In this peaceful though freezing domestic scene creeps in a touch of horror associated with the dark night.
'When blood is nipt, and ways be foul': We know the 'foul ways' are most likely to create terror into such cold, damp, dark and dreary nights. One is reminded of witches in Macbeth with their cries of 'fair is foul'.
Nine descriptive epithets, five 'winter nominals and a number of unusual collocations,
pictorial phrases,
refrains and repetitions enrich the poem with a rare beauty.
'Greasy Joan keels the pot is used twice and can be taken as the summative phrase of this poem about a peaceful, eco-fuendly household. A loving family sustained with care, cooperation and unlimited love with the parson's saw and Marian's red and raw nose complete the rural picture.
With such control, mystery and magic of language Shakespeare is rightly recognized not only as the immortal Bard of Avon but also the Bard of the whole world.
REFERENCES
Carter, Ronald, ed. 1982. Language and literature: An introductory reader in stylistics. London: Allen and Unwin.
Chapman, Raymond. 1973. Linguistics and literature: An introduction to literary stylistics. London: Amold.
Fowler, Roger, ed. 1966. Essays on style and language. London: Routledge.
Fowler, Roger. 1986. Studying literature as language. In Theo D'haen, ed. 1986. Linguistics and the study of literature. Amsterdam: Rodopl.
Freeman, Donald C., ed. 1970. Linguistics and literary style. New York: Holt, Rinehart and Winston, Inc.
Halliday, M.A.K. 1970. Descriptive linguistics in literary studies. In Freeman 1970.
Halliday, M.A.K., and Ruqaiya Hasan. 1976. Cohesion in
English. London: Longman.
A STYLISTIC ANALYSIS OF WILLIAM SHAKESPEAR`S SONET: WINTER
Shakespeare's Sonnet "Winter": A Stylistic Analysis
William Shakespeare's "Winter" sonnet vividly encapsulates the essence of the season with its stark imagery and portrayal of a pastoral life marked by the harsh elements. This analysis will explore the themes of seasonal change, time passing, and inner turmoil through the poem's notable use of literary devices, including imagery, personification, and symbolism.
Thematic Exploration
Seasonal Change: Shakespeare draws a clear picture of the chilling cold of winter affecting both humans and nature. His depiction is visceral, allowing the reader to feel the biting frost through his words. This change of season illustrates the passage of time and the repetition of life's cycles.
Time Passing: The poem begins with a succession of events marked by the adverb "when," suggesting a rhythmic, although cold and harsh, passage of time punctuated by daily rural activities and the predictable behaviors of wildlife during wintertime.
Inner Turmoil: While the poem presents a tableau of winter's impact on the external world, it also hints at the internal effect of such an environment, perhaps indicating a sense of discomfort or distress that can accompany the isolating cold. This subtle reflection of mood in the environment may explore the theme of inner turmoil and the human condition.
Literary Devices Analysis
Imagery: Shakespeare employs a wealth of vibrant imagery to communicate the frigid atmosphere of winter. Phrases like "icicles hang by the wall" and "milk comes frozen home in pail" evoke strong visual cues that transport the reader into the scene.
Personification: The poem personifies elements of winter, as seen with the "staring owl," which not only imbues the bird with human-like quality but also accentuates the haunting aspect of winter nights. The "greasy Joan doth keel the pot" adds a personal touch to activities, making the environment feel inhabited and lively despite the cold.
Symbolism: Icicles, frozen milk, and a red and raw nose are symbols of the penetrating cold that winter brings. These symbols encapsulate the struggle and adaptation of life in the face of nature's cycles.
Linguistic Analysis
The lexical analysis draws attention to the use of specific terms that ground the poem in its rural setting. Words such as "shepherd," "logs," "hall," and "pot" contextualize the environment while "icicles," "snow," and "wind" serve as 'winter nominals;' these are words directly associated with the season and help in creating the ambience.
Unique collocations such as "greasy Joan" and "roasted crabs hiss" add a distinctive flavor to the poem, employing uncommon pairings which heighten the reader's sensory experience and elicit surprise. This choice of diction reflects Shakespeare's unique style and ability to blend the mundane with the extraordinary.
The poem also makes use of irony, particularly in describing the owl's song as a "merry note," contrasting the perceived gloominess of the setting with the suggestion of cheerfulness.
Conclusion
Shakespeare's "Winter" sonnet is rich in both style and content, embracing the hardships and beauty of the season through intricate language and inventive linguistic choices. Its thematic complexity coupled with eloquent use of literary devices creates a piece that is timeless and evocative, offering insights into both the external world and the internal human experience.