Sunday, December 29, 2019












#One_day_workshop_on_cultural_studies
#By_Dr_kalyani_vallath_from_Kerala
#At_Department_of_English
#MaharajaKrishnakumarsinhji_Bhavnagar_University

From  365 day  of the year, this day has been  considered a very successful.  Kalyani Madam, who won the hearts of all with her ingenuity and living nature , delivering a whole day session with a very presence of mind and with full of enthusiastic way....This one day workshop organised by Head of English department Dilip Barad sir to expand our knowledge about cultural studies and to make significant help in NET/SET examination.

🌀About #kalyani_vallathmam

⭐Director at #Vallaths_TES
⭐Worked at #Freelance_Teacher_site
From #kerela
⭐Successful #Edupreneur

From his very talented and #very_interactive_nature, She started the day off with a #zealous_conversation with students, explaining very interesting and #brief_facts_of_cultural_studies, as well as combining them with his personal life and events.

First session started with an introduction of #interdisciplinary_study in that particular topic explains that how culture relates the largest society such as #politics_dynamics_mass_media , #culture_transforms #individual_experience and #social_realities and #power_relations. And then the beginning of cultural studies at #Frankfury_school, #institute_for_social_research
Moving forward give a very critical theory which relates in cultural studies such as a #hegllian_theory #dialectical_method_to_study culture. The very point are are included in her very brief introduction of cultural studies is that #what_is_enlightment
#cultural_industry and what is a particular #centre_for_contemporary_culture_studies.

While going deep about the pioneers and founders of this theory is  a well-known,

⭐ Richard Hoggart( 1918-2014)
⭐E.D.Thompson (1924-1993)
⭐Raymond Williams (1921-1988)

While referring This pioneer for their critical theories about cultural studies kalyani mam making things very crystal clear that #how_harmful_homosexuality_is . It should be part of us and then she moving towards a very burning issue of today's also is a #patriarchal_society and compare with a #Hegemonic_power_of_male.

With the reference of #Michelle_foucault who is the French philosopher and try to applied his philosophy in a very large number of a academic factors such as a #literature science and on #phenomenology  Michel foucault always used to #believe_in_a_subjective_experience_of_life and is very convincing idea of doesn't believe in objectivity . This seems to be the very personal expression of kalyani mam used very living examples is very interesting to get an idea about subjective experience.

Next one is #cultural_materialism and American new #political_historicism from this one she connected the dots with difference between #Power and #knowledge .....popular is not an instrumental wiled by people and how power maintained and accepted in a form of knowledge in 18th and 19th centuries. This Differentiation presents #cultural_habits towards #judging and #visualising situations.






 ðŸŒ€Afternoon session continuously floating by her enthusiastic way  and come back to #popular&culture studies which is prevailed in late 1970 and 80'th century onwards. This studies  including the study of  #comic_books #television and #internet. Very psychological significant theory which is given by #Sigmund_Freud and his contemporary  is #Trauma_studies , expand study of relationship between #Truma and #mental illness. The world a session ended with a very eminent #Queer_studies, involves the idea of Identity politics lived experience performance and nature of sexuality.

So thank you is a very short and small world to Express our gratitude for you. thank you very much for your arrival Dr. Kalyani mam vallath ,here I want to quote that

     "Distance cannot prevents our eagerness of heart and sporty spirit of being passionate teacher"

When  being a part of any culture we get that how judgemental culture is I think that we  might need kind of studies as compulsory as then we resulting that what exactly the #Dimensional_perspective of any culture. so thank you very much for your #passionate_vibration ,#positive_vibes, #thoughtful_words  and #huge_enlightment and feel great that we have a very enthusiastic personality with us Dr Dilip barad. sir.....



Monday, December 23, 2019



Hello readers, welcome to my blog my this new blog is particularly on the most well known writer and awarded Mr.shahi tharoor. To know author and his particular work made you thinker, while reading about author and his book I use to think more and started confused, so here I'm sharing some of my views regarding to shadhi tharoor's view points.
This thinking activity is a part of our study and organize by our Head of English department Prof. Dilip Barad Sir.









Shashi Tharoor the sahitya Akademi Award 2019 for his book  "AN ERA OF DARKNESS " The British empire in India on December 18, 2019.
Let us start some discussion with the kind of authentic preface
Tharoor’s Preface to his masterly An Era of Darkness:

“The British Raj is scarcely ancient history. It is part of the memories of people still alive. According to a recent UN Population Division report, the number of Indians over the age of eighty is six million: British rule was an inescapable part of their childhoods. If you add to their number, their first-generation descendants, Indians in their fifties and sixties, whose parents would have told them stories about their experiences of the Raj, the numbers with an intimate knowledge of the period would swell to over 100 million Indians…

Still, I write as an Indian of 2016 about the India of two centuries ago and less, animated by a sense of belonging morally and geographically to the land that was once so tragically oppressed by the Raj. India is my country, and in that sense my outrage is personal. But I seek nothing from history – only an account of itself.”

An Era of Darkness categorically attacks on many popular myths about so called benigh rule of British empire. He wrote about the huge destruction of India striling and lower caste communal divisions.  In an interview, 

"Tharoor explains why this book needed to be written now and where it figures in the current climate of shrill “nationalist” pride. Excerpts."

 An Era of Darkness, Tharoor expands  his cogently written eight chapters, he builds 
an impressive case against the British depredations and misgovernment of britishers. People mein thought that britishers was the one completely destroy a very ancient culture roots of India. 

"As Tharoor says, British Indians literally paid for their own oppression. Whatever good or positive 
British rule brought to Indians was not intended, but only a by-product."

He try to justify some very crucial points regarding to the British rule...


ðŸ”ķrailwey  networks 
were not available for native transport services but to carry British goods and control the vast territories; 

ðŸ”ķEnglish 
education was imparted to education system it  imposes Victorian values— They believed that a shelf of British literature was far better than entire Oriental works; the press are allowed to function it but judicial law try heto justify it,  rule of law was introduced, but the judicial 
system was prejudicial t and partial towards Indian subjects—he cites the case of Justice Syed Mahmud, who 
resigned in 1892 on the grounds of “discrimination and prejudice” and later “died a broken man”

His book, as he says, “makes an argument; it does not tell a story”. 

So, An Era of
Darkness is not a historical book. Yet, despite the disclaimer, but people use to read this book as  a book of 
history—a nationalist history.

In fact, this book  already considered like that . For example, on popular web-portal Scroll, one reviewer 
described the book like this:

“It is the one sweeping story of independent India’s history that every 
Indian must know”.



He said that he read so many things of British rule in his childhood while he was in school or college days go to various sources and made up of polymic of protest against British rule.
In short, British rule was brutish, racist, prejudicial, and utterly exploitative. 
In other words, if there is rigidity in the caste structure today, the blame lies with the British, who 
introduced classificatory devices like census etc. and made people aware about their distinct identities. 

But,the question about  how did the Indians internalise this caste rigidity so fast and so widely? 
When the historians raised questions at that time some historians try to write about India and show a chain of culture. How can it considered valuable?

In answer,out, these so-called alternative histories are histories of the elites; even though projected as subaltern 
history, it is a “national history from the backdoor”.


Dr Tharoor will deliver a lecture, entitled 'Looking Back at the British Raj in India', and discuss how the British Raj has shaped the narrative around India-UK relations



Shashi Tharoor's new book examines the legacy of British rule in India


Shashi Tharoor’s new book — An Era of Darkness: as he introduced  

“taken all the arguments conventionally made in favour of Empire and systematically countered them”. 



He says that My book also examines each of the supposed benefits of British rule in turn — political unity, democracy and rule of law, the civil services, the railways, he praise the good things like game of cricket and  tea, which I drink many cups of daily. It’s true that there was no organized cultivation of tea before the British. Here with counter argument he praise some alternatives of British council. Somewhere they innovated very good things for all.

In interview, some very questions about his publishers he make sure that I put my own argument without looking for the strong support,
I don’t know! My publisher, David Davidar, thinks the reason the speech went viral is because I put together a whole range of arguments about Empire that people hadn’t heard in that way,I just want to make bright Those points which is actually people  are unaware about the truth and  at least hadn’t thought about. It certainly seemed to strike a chord that this book builds on. 

Here , perhaps as per my thinking this book is valuable because this itself have a counter argument.

Historical material is available to everyone perhaps it is incomplete a lake of reality so this will helps us to make an argument.the Indians must know about truth of history because if you don't know the truth then you don't know your worth as well.
 This what a secular quest for everyone is that let me clear one thing which very confusing but quite easy let see that

An argument without knowledge
And
Knowledge without argument

Can this both are working simultaneously in every situation?

 If yes/no than what consequences is needed for any writer? 
As per my thinking Shadhi's work can be considered as a best combination of valuable arguments. He made an argument with knowledge, with the help of proper Historic Sense.

He made an argument with absurd India
 British rule deindustrialised India; created landlessness and poverty; drained our country’s resources; exploited, exiled and oppressed millions; sowed seeds of division and inter-communal hatred that led to Partition; 

He says that,
Something I feel is never mentioned or discussed enough is the role of Indian population that complied and even assisted the Raj, in return for favours monetary or otherwise. Surely, that money, land etc staying within the borders can’t be the excuse to let these legacies go unconsidered. Is there a need, then, to call out for reparations or, at least apologies from this group as well? Is that something you would welcome?

He wants to talk and discuss about that things and historical topics which wasn't discussed earlier this makes something new.

In his 15 minute speech, Tharoor eloquently outlined how the British destroyed the Indian economy, amassed huge wealth, and when they departed, left India worst off. By implications of new ideology britishers started the rule with their terms and norms. Exactly this is much harm to India destroyed history as well and new era of British rule as a new historical event which is cruel one but unfortunately it is a part of history.

So, as per Tharoor, the British owe reparations to her former colony, India. But instead of paying money, which anyway wouldn’t be possible, Britain could at least acknowledge the wrong and offer an apology for it.


One of the arguments Tharoor puts forward is that if the British had not colonized them, Indians would have modernised on their own, I'm agre that no one can rules up to you tremendous strategies to handle everything if you don't have then anyone can rule and destroyed you.

For example the Japanese did, or like those countries did who were not colonised. To substantiate this point, he takes a rather romantic view of ‘Indian history’ and refers to

 “great educational institutions, magnificent cities ahead of any conurbations of their time anywhere in the world, pioneering inventions, world-class manufacturing and industry, a high overall standard of living, economic policies that imparted prosperity, and abundant prosperity—in short, all the markers of successful ‘modernity’ today”.

Here Shashi tharoor refers and praise the older education system that those who have a very advance ideology of education then they might be the most successful modernity.

Tharoor, unlike pro-Hindutva ideologues, does not see Muslims as historical enemies, but as equal citizens. Still in  India Muslims are the very particular minority class in India but still considered them as a equal citizen of India this is the one of most plus argument and we can sleep positive towards equality. did conquest Indian territories, but they settled and contributed to the land and made it their own. In the contemporary toxic atmosphere of India, thus, Tharoor is certainly making a valuable intervention in terms of dispelling certain negative notions about Muslims and their medieval history in the sub-continent. For example, he says how India’s share of the world economy reached impressive 27% during the Mughal period.

Nevertheless, unlike his secular-self, Tharoor’s nationalist-self has severe limitations, especially as far as Kashmir is concerned. While talking about the criticisms his speech received, he writes 

“several other arguments were made in response to my speech that should be acknowledged here, even though they do not fit directly into the themes of any of my chapters”.

See, friends while criticize any Nation any people or any community we have with mind that before partition India was not a secular country . The question of Kashmir is still burning issue it can be implicated in the most controversial issue in Indian history as like partition as like Hindu Muslim community crisis.

Another problem with this book is that it virtually tars all Brits with the same brush, even while mentioning the exceptions. At many places, Tharoor resorts to borderline racism when talking about Brits—he repeatedly uses the term “perfidious Albion” to describe the character of British people. Such Anglophobic rantings does not help the narrative, which is otherwise persuasive and diligently crafted.  Likewise when we talked about caste structure 
Developed, as Tharoor asserts, 

“under the peculiar circumstances of British colonial rule”, then how is one to understand the ‘real’ Hinduism? And more importantly, how is one to understand the subaltern agency with respect to the colonial rule? 

The truckers discrimination is most convenient argument as per my thinking that while we studying colonial approach that can we come to know that how much harmful caste discrimination is.meaning of subaltern in the people of subaltern actually facing very cruel situation the life this is reality what Shashi tharoor talk about.



On page 161, Tharoor quotes Viceroy Lord Wavell’s “candid dairies” and then comes up with this negative portrayal of the Muslim League: “Though he [Wavell] was, like most of the British administration, hostile to the Congress and sympathetic to the League his government had helped nurture, he was scathing in his contempt for the mendacity of the League’s leaders, and of their ‘hymn of hate against Hindus.’ (No Congress leader expressed any hatred of Muslims to the viceroy.)”. Maybe League members were less diplomatic than Congress leaders in their dealings with the viceroy, but what purpose does this sentence serve in the book?



All this criticism against Tharoor is in no way intended to discount or undermine his valid arguments against the British rule over South Asian sub-continent. He has an impressive case against colonialism. But, not all his opinions and arguments are genuine, some are just too simplistic. I try to evaluate tharoor's view and comparative point of view,of his book with the help of some tharoor's quotation questions and answers.

Thank you 😊






Work on the theme of Death

Death


Psychoanalysis fascination with death is not uncommon as 
well. In Beyond the Pleasure Principle (1940), Sigmund 
Freud has divided two drives in the humans’ psyche. The first 
one is called the Sexual Drive or Eros and the second one is 
Death Drive or Thanatos (113) [3]. Death Drive is theorized 
by Freud as “the task of causing animate organisms to revert 
to an inanimate state” (113) [3]. This is because “death is a 
direct consequence of reproduction” (Freud 83) [3]. Freud 
indicated that death is the purpose of life and sexual drive is 
only the expression of the will to live


As Death Drive may have been repressed by individuals, 
they are inclined to sublime these desires for death through 
writing. Hence, literature is a medium used by individuals to 
broadcast their supposedly repressed longings for death. The 
fear of death becomes ‘fascinating’, if we could put in such a 
way. Death thus becomes significant to every individual and 
naturally it should be acknowledged as a stage where every
living organism must face as an ending to one’s life story. 
Writing about death may somehow fulfil a fantasy of an 
individual going through the stage of death. And it had made 
them immortal in a way where they do not have to go through 
‘actual’ death. They ponder about death since death is 
mysterious and none that was dead ever get to tell about the 
experience to the livings. This mystery is what invokes 
curiosity among people and hence why death could be a very 
important element in writing a story. Be it in the form of a 
ghost, suicide attempt, or homicide, anything that is 
associated to death intrigues readers. It keeps the readers’ 
interest in a plot


The Death of the Moth compares the insignificant short struggle and life of a moth to the daily struggles of human life. Moth as a symbol of human and it relates to human’s struggle to survive and how human will encounter death as well. When we encounter death, we become the same creature, no matter what our status in the world before. Hence, nobody can escape death, it’s inevitable and unescapable.


Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often personified in male form,[citation needed] although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, Dhumavati in Hinduism, or La Catrina in Mexico).



Poetry is greatly influenced by the cultural background and personal experiences of the poets.



The Theme of Death And Time in Emily Dickinson’s Poetry Amitabh Roy Assistant Professor, Department of English Alipurduar Mahila Mahavidyalaya Newtown, Near LoharpoolAlipurduarIndiaAbstractEmily Dickinson was a poet of seclusion and solitariness. She preferred to remain in her own world with her typical choices. She wrote almost 1800 poems, but most of them remained unpublished during her lifetime. The theme of death and time are two most discussed issues in Dickinson’s poetry. Interest about Dickinson still remains in critical world for her choice of words, thematic movement of the poem and expression of innermost feelings in simple language.  Her poems on death and time not only attract the general readers but also they have become issues of critical research throughout the world. The poems of Dickinson are an expression of her own world, lived within the space of her own. The voice of this poet echoes great poets like Shakespeare and Metaphysical poets in her depiction of the themes of time and death.


Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often personified in male form,[citation needed] although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, Dhumavati in Hinduism, or La Catrina in Mexico).

Sunday, December 15, 2019

Day-4

Day-4



From the day forth started explaining the differences between aspects of impression and interpretation he said that everything is comparative.

āŠķāŠŽ્āŠĶ āŠ…āŠĻે āŠ…āŠ°્āŠĨ āŠđોāŠŊ āŠ›ે? āŠķāŠŽ્āŠĶ āŠ…āŠĻે āŠ…āŠ°્āŠĨ āŠđોāŠĪો āŠĻāŠĨી āŠĩāŠļ્āŠĪુ āŠĻો āŠ…āŠ°્āŠĨ āŠķāŠŽ્āŠĶ āŠŠāŠ° āŠāŠŠ્āŠēાāŠ‡āŠĄ āŠ•āŠ°ેāŠēો āŠđોāŠŊ āŠ›ે āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

"āŠŪેં āŠĻāŠĶીāŠĻે āŠœીāŠĩāŠĩાāŠĻી āŠ°ીāŠĪ āŠŠૂāŠ›ી āŠĪી
āŠ āŠ•āŠķું āŠŽોāŠēી āŠĻāŠđીં āŠĩāŠđેāŠĪી āŠ°āŠđી āŠ–āŠģāŠ–āŠģ"

"āŠāŠ• āŠ›ોāŠ•āŠ°ી āŠĻ āŠđોāŠŊ āŠĪ્āŠŊાāŠ°ે āŠ•ેāŠŸāŠēા āŠ…āŠ°ીāŠļાāŠ“ āŠļાāŠŪāŠŊ āŠ—āŠ°ીāŠŽ āŠŽāŠĻી āŠœાāŠŊ āŠ›ે"

"āŠŠ્āŠ°āŠĪિāŠŽિંāŠŽāŠĻે āŠĻāŠŽāŠģો āŠšāŠđેāŠ°ો āŠ—āŠŪી āŠ—āŠŊો āŠ˜ૂંāŠ˜āŠŸ āŠœāŠ°ીāŠ• āŠ–āŠļ્āŠŊો āŠĪ્āŠŊાં āŠ…āŠ°ીāŠļો āŠĻāŠŪી āŠ—āŠŊો."

āŠ§્āŠĩāŠĻિ āŠ•ાāŠĩ્āŠŊ āŠĻો āŠ†āŠĪ્āŠŪા āŠ›ે.

āŠ§્āŠĩāŠĻિ: āŠ°āŠļ āŠ§્āŠĩāŠĻિ - āŠ…āŠēૌāŠ•િāŠ• āŠ§્āŠĩāŠĻિ
āŠ…āŠēંāŠ•ાāŠ° āŠ§્āŠĩāŠĻિ- āŠēૌāŠ•િāŠ• āŠ§્āŠĩāŠĻિ
āŠĩāŠļ્āŠĪુ āŠ§્āŠĩāŠĻી-āŠēૌāŠ•િāŠ• āŠ§્āŠĩāŠĻિ


āŠĩāŠļ્āŠĪુ āŠ§્āŠĩāŠĻી: āŠĩિāŠšાāŠ° āŠŪુāŠ–્āŠŊ āŠđોāŠŊ āŠ›ે
āŠ…āŠēંāŠ•ાāŠ° āŠ§્āŠĩāŠĻિ: āŠœો āŠ•ોāŠˆāŠĻે āŠ•ોāŠˆ āŠ…āŠēંāŠ•ાāŠ° āŠĻો āŠ‰āŠŠāŠŊોāŠ— āŠ•āŠ°āŠĩાāŠŪાં āŠ†āŠĩે āŠ›ે

āŠļāŠŪાāŠĻāŠĪા āŠ‰āŠŠāŠŪા
āŠļંāŠ­ાāŠĩāŠĻા āŠ‰āŠĪāŠŠ્āŠ°ેāŠ•્āŠ·ા
āŠ…āŠ­ેāŠĶ āŠ°ૂāŠŠāŠ•

āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે
"āŠšાંāŠĶો āŠĻીāŠšોāŠĩી āŠ…āŠŪે āŠĩાāŠŸāŠ•ા āŠ­āŠ°્āŠŊા āŠĻે āŠāŠĻે āŠŪોāŠ—āŠ°ાāŠĻી āŠ•āŠģીāŠ āŠđāŠēાāŠĩ્āŠŊા āŠ†āŠŸāŠēા āŠ‰āŠœāŠ°āŠĄા āŠĻે āŠ…āŠŪે āŠŠંāŠŽāŠ°āŠĻી āŠ•ોāŠ° āŠļુāŠ§ી āŠēાāŠĩ્āŠŊા."

āŠ°āŠļ āŠ§્āŠĩāŠĻિ: āŠœેāŠŪાં āŠ•ેāŠĻ્āŠĶ્āŠ° āŠļ્āŠĨાāŠĻāŠŪાં āŠ°ાāŠ–āŠĩાāŠŪાં āŠ†āŠĩે āŠ›ે.
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

"āŠŪેāŠ°ે āŠŠિāŠŊા āŠŪે āŠ•āŠ›ુ āŠĻāŠđીં āŠœાāŠĻુ
āŠŪેં āŠĪો āŠšૂāŠŠ āŠšૂāŠŠ āŠšાāŠđ āŠ°āŠđી...."

"āŠđāŠ°િ āŠŠāŠ° āŠ…āŠŪāŠĨું āŠ…āŠŪāŠĨું āŠđેāŠĪ āŠđું āŠ…ંāŠ—ૂāŠ ા āŠœી āŠĻે āŠŪાāŠ°ી āŠĩાāŠēāŠŠ āŠŽāŠŽ્āŠŽે āŠŽāŠŽ્āŠŽે āŠĩેāŠĪ..."

āŠĩāŠļ્āŠĪુ āŠ§્āŠĩāŠĻી āŠ…āŠĩિāŠšિāŠĪ્āŠ° āŠ›ે
āŠ…āŠēંāŠ•ાāŠ° āŠ§્āŠĩāŠĻિ āŠ›ે
āŠ°āŠļ āŠ§્āŠĩāŠĻિ āŠ…āŠēૌāŠ•િāŠ• āŠ›ે


Now the most interesting part of forth day is to understand what is āŠĩāŠ•્āŠ°ોāŠ•્āŠĪિ

"āŠĩāŠ•્āŠ°ોāŠ•્āŠĪિ- āŠ•ૃāŠĪંāŠ•"

"āŠĩāŠģાંāŠ• āŠœ āŠļુંāŠĶāŠ° āŠđોāŠŊ āŠ›ે āŠļાāŠđિāŠĪ્āŠŊāŠĻું āŠđેāŠĪુ āŠļૌંāŠĶāŠ°્āŠŊāŠĻો āŠ…āŠĻૂāŠ­āŠĩ āŠ•āŠ°āŠĩાāŠĻું āŠ›ે"

āŠĩāŠ•્āŠ°- āŠĩાāŠ•ુ
Curved is aesthetics

āĪĩैāĪĶ्āĪ—्āΧāĪŠ āĪ­āĪ—ीāĪ­āĪĢीāĪĪि āĪĶāĪĪी āŠĩāŠ•્āŠ°ોāŠ•્āŠĪિ

āŠĩિāŠķિāŠ·્āŠŸ āŠ°ીāŠĪે āŠ•āŠđેāŠĩાāŠŊું āŠĩāŠ•્āŠ°ોāŠ•્āŠĪિ, āŠķāŠŽ્āŠĶ āŠ…āŠĻે āŠ…āŠ°્āŠĨ āŠ…āŠĻે āŠ†āŠ§ાāŠ°િāŠĪ āŠ•ાāŠĩ્āŠŊ āŠĻા āŠļૌંāŠĶāŠ°્āŠŊāŠĻો āŠ…āŠĻુāŠ­āŠĩ āŠĨાāŠŊ āŠ›ે.

This particular āŠķાāŠļ્āŠĪ્āŠ° inferences on the interaction and treatment of language.

āŠķāŠŽ્āŠĶ āŠ…āŠĻે āŠ…āŠ°્āŠĨ āŠĶ્āŠĩાāŠ°ા āŠ•ાāŠĒીāŠĻે āŠļુંāŠĶāŠ°ીāŠĻે āŠŠાāŠŪāŠĩાāŠĻું āŠđોāŠŊ āŠ›ે āŠēેંāŠ—્āŠĩેāŠœ āŠļાāŠĨે āŠ°āŠŪે āŠ›ે āŠ­ાāŠ·ા āŠŠāŠ° āŠ†āŠ•્āŠ°āŠŪāŠĢ āŠ•āŠ°ે āŠ›ે āŠ†āŠĪ્āŠŪ āŠļુંāŠĩાāŠĶ āŠĶ્āŠĩાāŠ°ા āŠŠૂāŠ°ેāŠŠૂāŠ°ી āŠļāŠŪāŠœāŠĩાāŠĻી āŠ•ોāŠķિāŠķ āŠ•āŠ°ે āŠ›ે.

Day-5




The day starts with the very brief introduction of three unities of Shakespeare which is the time place and action, three unities are helps to understand the pure aesthetic sense.
Aesthetics attract and generate glamour any literature .
With the reference of of the last leaf and o Henry.

"āŠĶāŠ°્āŠŠāŠĢ āŠ†ંāŠ– āŠĪāŠŪે āŠŦેāŠ°āŠĩી āŠēીāŠ§ી āŠĻે āŠŪાāŠ°ો āŠšāŠđેāŠ°ો āŠĒોāŠģાāŠˆ āŠ—āŠŊો
āŠ–ીંāŠŸીāŠ āŠ“āŠĒāŠĢીāŠĻે āŠŠૂāŠ›્āŠŊું āŠ•ે āŠ•્āŠŊાં āŠđાāŠē્āŠŊા āŠ“āŠĒāŠĢી āŠ•āŠđ્āŠŊું āŠ‰āŠĄāŠĩા
āŠđાāŠĨāŠŪાં āŠ›ે āŠĪો āŠ āŠ•ાāŠŽુ āŠŽāŠđાāŠ° āŠ›ે āŠ­ાāŠ—્āŠŊāŠ°ેāŠ–ાāŠ“ āŠĻો āŠ•ેāŠĩો āŠ­ાāŠ° āŠ›ે
āŠĪāŠģાāŠĩ āŠĻે āŠĩાāŠ—ેāŠēો āŠŠāŠĨ્āŠĨāŠ° āŠĨāŠˆāŠĻે āŠĪāŠģાāŠĩāŠĻે āŠŠંāŠŠાāŠģે'

"āŠĩāŠ°āŠļાāŠĶāŠĄો āŠĪો āŠŠેāŠ•્āŠ•ુāŠ• āŠĨીāŠœ āŠ›ે āŠļાāŠĩ āŠĩાāŠŊāŠĄો āŠŸીāŠŠે āŠŸીāŠŠે āŠĶāŠŽāŠĩેāŠĄાāŠĩે āŠŪāŠĻે āŠœાāŠĢે āŠđું āŠāŠĻી āŠŽાāŠŊāŠĄી āŠĻે āŠˆ āŠŪાāŠ°ો āŠ­ાāŠŊāŠĄો"

Here is the most attentive portions of

"āŠĩāŠ•્āŠ°āŠĪા"

āŠĩāŠ°્āŠĢ āŠĩિāŠĻ્āŠŊાāŠļ āŠĩāŠ•્āŠ°āŠĪા
āŠŠāŠĶ āŠŠૂāŠ°્āŠĩāŠ§ āŠĩāŠ•્āŠ°āŠĪા
āŠŠāŠĶ āŠŠāŠ°ાāŠ°્āŠ§ āŠĩāŠ•્āŠ°āŠĪા
āŠĩાāŠ•્āŠŊ āŠĩāŠ•્āŠ°āŠĪા
āŠŠ્āŠ°āŠ•āŠ°āŠĢ āŠĩāŠ•્āŠ°āŠĪા
āŠŠ્āŠ°āŠŽંāŠ§ āŠĩāŠ•્āŠ°āŠĪા

#āŠĩāŠ°્āŠĢ āŠĩિāŠĻ્āŠŊાāŠļ āŠĩāŠ•્āŠ°āŠĪા

āŠ…āŠ•્āŠ·āŠ° āŠ…āŠ•્āŠ·āŠ°ોāŠĻે āŠœોāŠĄāŠĩા āŠļૌંāŠĶāŠ°્āŠŊ āŠŠ્āŠ°āŠ—āŠŸ āŠ•āŠ°āŠĩા āŠŪાāŠŸે āŠĪāŠĨા āŠĩāŠ°્āŠĢો āŠĻા āŠļāŠŪāŠĻāŠĩāŠŊ āŠĨી āŠĻીāŠŠāŠœāŠĪું āŠļૌંāŠĶāŠ°્āŠŊ.

#āŠŠāŠĶ āŠŠૂāŠ°્āŠĩāŠ§ āŠĩāŠ•્āŠ°āŠĪા

āŠŠāŠĶāŠĻી āŠŠāŠđેāŠēાં āŠĻું āŠŠāŠĶ
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

"āŠĪāŠŪે āŠŸāŠđુāŠ•્āŠŊા āŠĻે āŠ†āŠ­ āŠŪāŠĻે āŠ“āŠ›ું āŠŠāŠĄ્āŠŊુ''

āŠœે āŠ•ંāŠˆāŠŪāŠģ્āŠŊું āŠ›ે āŠ āŠœ āŠŪāŠģ્āŠŊું āŠĻ āŠ—āŠĢાāŠŊ āŠ āŠŠāŠĢ āŠŪāŠģ્āŠŊું āŠ•āŠˆ āŠŠāŠĢ āŠŪāŠģ્āŠŊું āŠĻāŠđીં

āŠ–ાāŠēી āŠ—્āŠēાāŠļ āŠ°િāŠ•્āŠĪāŠĪા āŠĨી āŠ­āŠ°ેāŠēો āŠ›ે

#āŠŠāŠĶ āŠŠāŠ°ાāŠ°્āŠ§ āŠĩāŠ•્āŠ°āŠĪા

āŠŠāŠĶ āŠŠāŠ›ી āŠ†āŠĩāŠĪું āŠŠāŠĶ
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

"āŠ—āŠĒāŠĻે āŠđોંāŠ•ાāŠ°ો āŠĪો āŠ•ાંāŠ—āŠ°ાāŠŊ āŠĶેāŠķે āŠŠāŠĢ āŠ—āŠĒāŠŪાં āŠđોંāŠ•ાāŠ°ો āŠ•ોāŠĢ āŠĶેāŠķે."

#āŠĩાāŠ•્āŠŊ āŠĩāŠ•્āŠ°āŠĪા

āŠāŠ• āŠĩાāŠ•્āŠŊ āŠœે āŠĻ્āŠŊાāŠŊ āŠ°ૂāŠŠ āŠŽāŠĻી āŠķāŠ•ે .

"āŠŪેāŠ°ે āŠŠાāŠļ āŠŪા āŠđૈ (āŠĶીāŠĩાāŠ°)"

#āŠŠ્āŠ°āŠ•āŠ°āŠĢ āŠĩāŠ•્āŠ°āŠĪા

āŠ•ોāŠˆ āŠāŠ• āŠŠ્āŠ°āŠ•āŠ°āŠĢ āŠŠāŠ° āŠēāŠ–ાāŠĪું āŠļાāŠđિāŠĪ્āŠŊ.
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે

"āŠļૈāŠ°ેંāŠĶ્āŠ°ી"

#āŠŠ્āŠ°āŠŽંāŠ§ āŠĩāŠ•્āŠ°āŠĪા

āŠ†āŠ–ાāŠŊ āŠŠ્āŠ°āŠŽંāŠ§ āŠĻો āŠēāŠ•્āŠ· āŠļૂāŠšāŠĩે āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે

"āŠŪāŠđાāŠ­ાāŠ°āŠĪ āŠ…āŠļāŠĪ્āŠŊāŠĻો āŠļāŠĪ્āŠŊ āŠŠāŠ° āŠĩિāŠœāŠŊ āŠļૂāŠšāŠĩે āŠ›ે"

Here is the treatment style of expressive literature.


āŠŠ્āŠ°ાāŠļાāŠĶ: āŠŽોāŠēીāŠĻે āŠļāŠŪāŠœાāŠŊ āŠļāŠ°āŠģ āŠđોāŠŊ.
āŠ“āŠœāŠļ: āŠĪેāŠœીāŠēી āŠĪોāŠ–āŠ°ી āŠ­ાāŠ·ા āŠĪāŠ°્āŠ• āŠ°āŠđેāŠēો āŠđોāŠŊ.
āŠŪાāŠ§ુāŠ°ી: āŠķ્āŠ°ુāŠĪિ āŠ°āŠŪ્āŠŊ āŠđોāŠŊ , āŠŪāŠ§ુāŠ°āŠĪા āŠđોāŠŊ.


Day-6




 The last and the final day ended with the discussion of āŠ…āŠēંāŠ•ાāŠ°āŠķાāŠļ્āŠĪ્āŠ°. Indeed it is very ornamental not natural and language itself applied think it is not necessary it increases the charm and glory of any particular literary work. Bham was the first critic of figurative language, he said that

"āŠ•્āŠŊાāŠ°ેāŠ• āŠ…āŠēંāŠ•ાāŠ° āŠĩાāŠģુ āŠ•્āŠŊાāŠ°ેāŠ• āŠ…āŠēંāŠ•ાāŠ° āŠĩāŠ—āŠ° āŠĻું āŠ•ાāŠĩ્āŠŊ āŠ•āŠŊો āŠ…āŠēંāŠ•ાāŠ° āŠ•્āŠŊાં āŠĩāŠŠāŠ°ાāŠŊ āŠĪે āŠŪાāŠŸેāŠĻું āŠļ્āŠĨાāŠĻ āŠŪુāŠ•્āŠĪāŠ• āŠŊોāŠ—્āŠŊ āŠļ્āŠĨāŠģે āŠĩāŠŠāŠ°ાāŠŊ āŠ…āŠ°્āŠĨ āŠŪāŠģે āŠ›ે āŠ…āŠ°્āŠĨ āŠļ્āŠĨાāŠĻે āŠĩāŠŠāŠ°ાāŠŊેāŠēો āŠ…āŠēંāŠ•ાāŠ° āŠļૌંāŠĶāŠ°્āŠŊāŠŪાં āŠĩāŠ§ાāŠ°ો āŠ•āŠ°ે āŠ›ે.'

The more concept related with figurative speech was formally established in 15 sadi. Named

āĪ­ाāĪŪा: the school of figurative language

Reception characteristic of figurative language which is defined by Bham.

Tool to justify literary work
āŠ…āŠēંāŠ•ાāŠ° āŠ“āŠĪāŠŠ્āŠ°ોāŠĪ āŠđોāŠĩો āŠœોāŠ‡āŠ āŠ…āŠĄોāŠ…āŠĄ āŠĻāŠđિ.
āŠ…āŠēંāŠ•ાāŠ° āŠŪાં āŠ…āŠ­િāŠēાāŠŊી āŠđોāŠĩું āŠœોāŠ‡āŠ- totality .


āŠ°ીāŠĪી- āŠķૈāŠēી

" The way of presentation"
" Style is personality"

āŠĩાāŠŪāŠĻ says the style is changing place to place.


Here vinodsir added some more characteristic of style of writing.

 āŠ•ાāŠēિāŠĶાāŠļ āŠĩૈāŠĶāŠ°્āŠ­ી āŠķૈāŠēી
āŠŠાંāŠšાāŠēી āŠķૈāŠēી
āŠ—ૌāŠĄી āŠķૈāŠēી
āŠēાāŠŸ āŠķૈāŠēી.

Best word in best order - Coleridge.
In very brief vinod sir ended the day with the good example of...

"āŠŪેāŠķ āŠĻા āŠ†ંāŠœું āŠ°ાāŠŪ āŠēેāŠš āŠœāŠ—ા āŠĻāŠđિ āŠđાāŠŊ āŠļāŠ–ી āŠĻāŠŊāŠĻ āŠ­āŠ°ાāŠŊો āŠķ્āŠŊાāŠŪ."


I would like to thank Dr. Dilip barad for this festival and also Prof. Vinod Joshi sir for your precious time to share your knowledge with us . It will definitely fruitful to all students for their further studies and for examination as well.

Thank you

Vinodsir joshi expert lecture of Indian poetics



Vinodsir joshi : reflective blog on expert lecture of Indian poetics

Hello readers my new reflective blog on vinod Joshi's expert lecture which is held at English department  MaharajaKrishnaKumarsinhji Bhavnagar University this,fruitful week organised by the head of English department  professor Dilipsir barad. Each and every subject either English or Gujarati or in any language it must be fruitful to everyone. We are studying Indian poetics and criticism along with Western politics and criticism. Kind of sessions expand the knowledge and thought process in a subject and various languages.






Vinod Joshi's place in the world of poets is very famous.  Poets of indean poetics in the English Department as a poet with high metaphysical intelligence.
Teaching students to grasp the power of understanding through their own lively examples and ways of teaching, surrounded by modern thinking.
This was a very useful Knowledge Light held in English 
Department  from 3rd Dec  to 9th Dec.  At the fair of this knowledge the student was very enthusiastically involved.

Day-1



The first day of expert lecture by vinodsir joshi started with a very formal and brief introduction about
#what is criticism?

Criticism subject which conduct observation ,opinion, conviction ,imagination and which holds confusion in addition for the most effective thing is circulation responsible for information. Literary criticism is literary philosophy.


āĪ•āĪĩि: āĪ•āΰोāĪĪि āĪ•ाāĪĩ्āĪŊाāĪĻि āΰāĪļं āΜाāĪĻāĪĻ्āĪĪि āĪŠंāĪĄिāĪĪाः ।
āĪĪāΰुः āĪļृāΜāĪĪि āĪŠुāĪ·्āĪŠाāĪĢि āĪŪāΰुāĪĪ् āĪĩāĪđāĪĪि āĪļौāΰāĪ­āĪŪ् ।।

āŠ•āŠĩિ āŠ•ાāŠĩ્āŠŊ āŠ•āŠ°ે āŠ›ે āŠŠāŠĢ āŠĪેāŠĻા āŠ°āŠļāŠĻે āŠĪો āŠœાāŠĢāŠ•ાāŠ° āŠœ āŠŠ્āŠ°āŠļāŠ°ાāŠĩે āŠ›ે . āŠœેāŠŪ āŠĩૃāŠ•્āŠ· āŠŦૂāŠēāŠĻું āŠļāŠ°્āŠœāŠĻ āŠ•āŠ°ે āŠ›ે āŠŠāŠĢ āŠŦૂāŠēāŠĻી āŠļુāŠ—ંāŠ§āŠĻે āŠĪો  āŠđāŠĩા āŠœ āŠēāŠ‡ āŠœાāŠŊ āŠ›ે.

#what is poetics?


āŠĪāŠŪાāŠ°ા āŠļુāŠ§ી āŠĪો āŠ†āŠĩે āŠŠāŠĢ āŠ•āŠˆ āŠ°ીāŠĪે āŠ āŠļāŠŪāŠœાāŠĩે āŠĪે āŠŠોāŠēિāŠŸિāŠ•્āŠļ.
āŠšāŠ•āŠēીāŠĻી āŠšાંāŠšāŠŪાંāŠĨી āŠļુāŠ°āŠœ āŠĻીāŠ•āŠģ્āŠŊો-āŠļāŠĩાāŠ° āŠŠāŠĄી.

Dramatics and Indian mythology began with Bharatmuni. He noted Sach eminent poets

"āŠĻાāŠŸ્āŠŊāŠķાāŠļ્āŠĪ્āŠ° school- āŠĩિāŠšાāŠ°āŠ§ાāŠ°"

āŠ­āŠ°āŠĪāŠŪુāŠĻિ āŠ°āŠļ āŠļંāŠŠ્āŠ°āŠĶાāŠŊ
āŠ†āŠĻંāŠĶ āŠĩāŠ°્āŠ§āŠĻ āŠ§્āŠĩāŠĻિ āŠļંāŠŠ્āŠ°āŠĶાāŠŊ
āŠ•ુંāŠĪāŠ• āŠĩāŠ•્āŠ°ોāŠĪી āŠļંāŠŠ્āŠ°āŠĶાāŠŊ
 āŠĩાāŠŪāŠĻ āŠ°ીāŠĪી āŠļંāŠŠ્āŠ°āŠĶાāŠŊ
āŠ­ાāŠŪ:- āŠ…āŠēંāŠ•ાāŠ° āŠļંāŠŠ્āŠ°āŠĶાāŠŊ
āŠķૈāŠēāŠ­āŠĶ્āŠ° āŠ…ોāŠšિāŠĪ્āŠŊ āŠļંāŠŠ્āŠ°āŠĶાāŠŊ

Define the difference between Western poetics and Indian poet  it inter defines with particular effects  like.

āŠĩેāŠļ્āŠŸāŠĻ āŠŠોāŠāŠŸિāŠ•āŠļ: āŠļાāŠđિāŠĪ્āŠŊāŠĻો āŠŠ્āŠ°āŠ­ાāŠĩ āŠ•ાāŠŪ āŠ…āŠĻે āŠŠāŠ°િāŠĢાāŠŪ āŠ‰āŠŠāŠ° āŠ­ાāŠ° āŠŪૂāŠ•ે āŠ›ે
āŠ‡āŠĻ્āŠĄિāŠŊāŠĻ āŠŠોāŠāŠŸીāŠ•āŠļ: āŠļાāŠđિāŠĪ્āŠŊ āŠĻી āŠŠ્āŠ°āŠ•્āŠ°િāŠŊા āŠ–ૂāŠŽ āŠŪāŠđāŠĪ્āŠĪ્āŠĩāŠĻી āŠ›ે āŠ…āŠĻે āŠœે āŠ…āŠĪ્āŠŊંāŠĪ āŠŊુāŠĻિāŠ• āŠ›ે āŠĪેāŠĻા āŠŠāŠ° āŠ­ાāŠ° āŠŪૂāŠ•ે āŠ›ે.

Indian open orders of language and the voice hey did the language is applied and it is imitation of emotion but the voice is the root instinct of nature the voice is promotion to expand the sensibility of language and literature. The languages in motel and place thing. He raised a very logical argument about the existence of language,

''āŠ†āŠŠāŠĻો āŠ‰āŠĶ્āŠĶેāŠķ āŠ…āŠ°્āŠĨ āŠŠāŠđોંāŠšાāŠĄāŠĩાāŠĻો āŠ›ે āŠ­ાāŠ·ા āŠĻāŠđિ.
āŠ†āŠŠāŠĢે āŠ­ાāŠ·ા āŠĶ્āŠĩાāŠ°ા āŠ…āŠ°્āŠĨ āŠŠāŠđોંāŠšાāŠĄીāŠ āŠ›ીāŠ āŠŠāŠĢ āŠ­ાāŠ·ા āŠŠાāŠ›āŠģ āŠĻો āŠ…āŠ°્āŠĨ āŠ•ે āŠœે āŠ­ાāŠĩ āŠŠāŠđોંāŠšાāŠĄીāŠ āŠ›ીāŠ?''

He added language is superior thoughts detection and experience of true emotion, it calls "Ras" the human sensibility. Expanded New Vision towards some portion of Ras , with definition,

''āĪĩिāĪ­āĪĩाāĪĻु āĪ­āĪĩ āĪĩ्āĪŊāĪ­िāΚाāΰी āĪļंāĪŊोāĪ—ाāĪĪ् āΰāĪļ āĪĻिāĪ·्āĪŠāĪĪ्āĪĪि।''


āŠĩિāŠ­ાāŠĩ
āŠ…āŠĻુāŠ­ાāŠĩ
 āŠļંāŠšાāŠ°ી āŠ­ાāŠĩ
 āŠļંāŠŊોāŠ—

āŠĩિāŠ­ાāŠĩ: āŠœેāŠĻા āŠ†āŠ§ાāŠ°ે āŠ°āŠļāŠĻી āŠĻિāŠ·્āŠŠāŠĪ્āŠĪિ āŠĨાāŠŊ āŠ›ે āŠ—ુāŠœāŠ°ાāŠĪ āŠĩ્āŠŊāŠ•્āŠĪિ āŠĩāŠš્āŠšેāŠĻો āŠ…āŠĻુāŠ°ાāŠ— āŠ…āŠĻે āŠŠ્āŠ°āŠ•ૃāŠĪિ (āŠŠાāŠĪ્āŠ°ો)
"āŠŽે āŠŪુāŠ–્āŠŊ āŠĩિāŠ­ાāŠ—"

āŠ†āŠēંāŠŽāŠĻ āŠĩિāŠ­ાāŠĩ
āŠ‰āŠĶ્āŠĶીāŠŠāŠĻ

āŠ…āŠĻુāŠ­ાāŠĩ: āŠŠ્āŠ°āŠĪિāŠ•્āŠ°િāŠŊા (reaction)

"āŠĶુāŠ·્āŠŊāŠĻ્āŠĪāŠĻે āŠķāŠ•ુāŠĻ્āŠĪāŠēાāŠĻી āŠļાāŠŪે āŠœોāŠĩું āŠķāŠ•ુāŠĻ્āŠĪāŠēાāŠĻું āŠķāŠ°āŠŪાāŠĩું(āŠŠ્āŠ°āŠĪિāŠ•્āŠ°િāŠŊા)''

āŠļંāŠšાāŠ°િ āŠ­ાāŠĩ:  āŠ…āŠļ્āŠĨાāŠŊી āŠ­ાāŠĩો ( temporary emotions)

''āŠ•્āŠ°ોāŠ§ ,āŠŠ્āŠ°ેāŠŪ, āŠ‰āŠĪ્āŠĪેāŠœāŠĻા, āŠ†āŠĻંāŠĶ''

āŠļંāŠŊોāŠ—: āŠļંāŠŊોāŠœāŠĻ āŠļાāŠđિāŠĪ્āŠŊāŠĻા āŠŪāŠ°્āŠŪāŠĻા āŠļāŠđāŠŊોāŠ—āŠĨી āŠ†āŠĩે āŠāŠĻા āŠŠāŠ°āŠĨી āŠ°āŠļāŠĻી āŠĻિāŠ·્āŠŠāŠĪ્āŠĪિ āŠĨાāŠŊ.

Day-2



It started with a single interesting thing which is "āŠķāŠŽ્āŠĶ"

''āŠķāŠŽ્āŠĶ āŠĻાāŠŪāŠĻો āŠĶીāŠĩો āŠĻા āŠđોāŠĪ āŠĪો āŠĪ્āŠ°āŠĢેāŠŊ āŠēોāŠ• āŠ…ંāŠ§āŠ•ાāŠ° āŠŪāŠŊ āŠđોāŠĪ āŠķāŠŽ્āŠĶ āŠœ āŠ†āŠŠāŠĢāŠĻે āŠœીāŠĩāŠĻ āŠĻાāŠ°ો āŠ›ે āŠ­ાāŠ·ાāŠĻા āŠ…āŠ­ાāŠĩāŠŪાં āŠĨāŠĪી āŠ…āŠ­િāŠĩ્āŠŊāŠ•્āŠĪિ āŠļંāŠŠૂāŠ°્āŠĢ āŠ…āŠ­િāŠĩ્āŠŊāŠ•્āŠĪિ āŠ›ે''

The human emotions are infinite, it can be artificial or less expressive with the help of language, because language is a social taboo the thought is root of language and language instinct barriers. This is also truth that if we want to express our sense and sensibility we have to use language and then the process are chronologically

''āŠ­ાāŠĩ āŠ§્āŠĩāŠĻી āŠļંāŠ—્āŠ°āŠđ āŠĩિāŠšાāŠ° āŠ…āŠ­િāŠĩ્āŠŊāŠ•્āŠĪિ''

āŠ°āŠļ āŠĻાāŠŸ્āŠŊāŠķાāŠļ્āŠĪ્āŠ°
āŠļ્āŠĨાāŠŊી āŠ­ાāŠĩ
āŠ°āŠĪી āŠķોāŠ•
āŠ‰āŠĪ્āŠļાāŠđ āŠ•્āŠ°ોāŠ§
āŠđાāŠļ āŠ­āŠŊ āŠœુāŠ—ુāŠŠ્āŠļા āŠĩિāŠļ્āŠŪāŠŊ āŠķāŠŪ


āĪķृāĪ™्āĪ—ाāΰ āĪ•āΰुāĪĢ āĪĩिāΰ
āΰौāĪĶ्āΰ āĪđāĪļ्āĪŊ āĪ­āĪŊाāĪĻāĪ•ा
āĪŽीāĪ­āĪĪ्āĪļāĪļाāĪĶ āĪ­ूāĪĪ āĪķाāĪĻ्āĪĪāΜ्āĪĩ
āĪĻāĪĩ āĪĻाāΟ्āĪŊ āΰāĪļः āĪļ्āĪŪुāĪĪा।
(āĪ­āΰāĪĪ: āĪĻाāΟ्āĪŊ āĪķाāĪļ्āĪĪ्āΰ)

The four main improving person in the field of āŠļાāŠđિāŠĪ્āŠŊ āŠŪીāŠŪાંāŠļા

āŠ­āŠŸ્āŠŸ āŠēોāŠē્āŠēāŠŸ
āŠķ્āŠ°ી āŠķંāŠ•ુāŠ•
āŠ­āŠŸ્āŠŸ āŠĻાāŠŊāŠ•
āŠ…āŠ­િāŠĻāŠĩāŠ—ુāŠŠ્āŠĪ

#āŠ­āŠŸ્āŠŸ āŠēોāŠē્āŠēāŠŸ
āŠ°āŠļ āŠđોāŠĪો āŠœ āŠĻāŠĨી āŠ°āŠļāŠĻી āŠ‰āŠĪ્āŠŠāŠĻ્āŠĻ āŠ•āŠ°āŠĩો āŠŠāŠĄે āŠ›ે āŠĻાāŠŸ્āŠŊāŠ•ાāŠ° āŠĻે āŠ…āŠĻુāŠ­āŠĩ āŠĨાāŠŊ āŠĪેāŠĻે āŠ°āŠļાāŠĻુંāŠ­ાāŠĩ āŠ•āŠđેāŠĩાāŠŊ . Two main factors which denoted about the concept of rasa

"āŠ‰āŠĪ્āŠŠāŠĪ્āŠĪિ āŠĩાāŠĶ"
''The concept of make believe''

#
āŠ°āŠļ āŠđોāŠĪો āŠœ āŠĻāŠĨી āŠ āŠŽāŠ°ાāŠŽāŠ° āŠĪેāŠĻે āŠ‰āŠĪ્āŠŠāŠĻ્āŠĻ āŠ•āŠ°āŠĩો āŠŠāŠĄે āŠ›ે āŠāŠŪ āŠĻāŠĨી āŠĪેāŠĻું āŠ…āŠĻુāŠŪાāŠĻ āŠ•ે āŠ§ાāŠ°āŠĩું āŠŠāŠĄે āŠ›ે āŠđāŠĻુāŠŪાāŠĻ āŠ•āŠ°āŠĪી āŠĩāŠ–āŠĪે āŠ­ાāŠĩોāŠĻી āŠŠ્āŠ°āŠĪીāŠĪિ āŠĨāŠĩી āŠœāŠ°ૂāŠ°ી āŠ›ે āŠ†āŠĩું āŠ…āŠĻુāŠ•āŠ°āŠĢ āŠĻાāŠŸ્āŠŊāŠ•ાāŠ°ે āŠŠોāŠĪાāŠĻા āŠŠાāŠĪ્āŠ°āŠŪાં āŠ…āŠ­િāŠĩ્āŠŊāŠ•્āŠĪ āŠ•āŠ°āŠĩાāŠĻું āŠđોāŠŊ āŠ›ે.

#āŠķ્āŠ°ી āŠķંāŠ•ુāŠ•
āŠœે āŠ›ે āŠĻāŠđિ āŠ›āŠĪાં āŠĪેāŠĻે āŠĪે āŠ…āŠĻુāŠŪાāŠĻ āŠ•āŠ°ો āŠ›ો āŠŽંāŠ§ āŠĪેāŠĻે āŠ…āŠĻુāŠŪāŠĪિ āŠŽાāŠĶ āŠ•āŠđેāŠĩાāŠŪાં āŠ†āŠĩે āŠ›ે four main factors which are noted about the concept of Rasa

āŠŊāŠĨાāŠ°્āŠĨ āŠļāŠŪ્āŠŊāŠ• āŠŠ્āŠ°āŠĪીāŠĪિ
āŠŪિāŠĨ્āŠŊા
āŠļંāŠķāŠŊ
āŠļāŠĶ્āŠķ્āŠŊ( āŠļāŠŪાāŠĻāŠĪા)

#āŠ­āŠŸ્āŠŸ āŠĻાāŠŊāŠ•
āŠ† āŠŪાāŠŪāŠēો āŠŪાāŠĪ્āŠ° āŠĻāŠŸ āŠ•ે āŠĻાāŠŸ્āŠŊāŠ•ાāŠ° āŠĻો āŠĻāŠĨી. āŠķિāŠ•્āŠ·āŠ•āŠĻો āŠŠāŠĢ āŠ›ે āŠŽંāŠĻે āŠ­ાāŠĩāŠĻા āŠ…āŠĻુāŠŪાāŠĻāŠŪાં āŠļāŠŪાāŠĻ āŠ•āŠ•્āŠ·ાāŠ āŠŠāŠđોંāŠšે āŠĪ્āŠŊાāŠ°ે āŠ°āŠļāŠĻી āŠĻિāŠ·્āŠŠāŠĪ્āŠĪિ āŠĨાāŠŊ āŠ›ે. Two main factors which are denoted about the concept of rasa

āŠļાāŠ§ાāŠ°āŠĢીāŠ•āŠ°āŠĢ
āŠ­ુāŠ•િāŠĪāŠĩાāŠĶ

#āŠ…āŠ­િāŠĻāŠĩāŠ—ુāŠŠ્āŠĪ

āŠŽāŠ§ા āŠķાāŠļ્āŠĪ્āŠ°ોāŠĻો āŠŪિāŠķ્āŠ°āŠĢ āŠĻાāŠŸāŠ• āŠ›ે āŠĻાāŠŸāŠ• āŠ°āŠļ āŠ…āŠĻુāŠ­āŠĩ āŠ•āŠ°ાāŠĩે āŠ›ે āŠĻાāŠŸāŠ• āŠŠ્āŠ°āŠ•ાāŠķ āŠ†āŠĻંāŠĶ āŠœ્āŠžાāŠĻ āŠ…āŠ­િāŠĩ્āŠŊāŠ•્āŠĪિāŠĻું āŠļંāŠŊોāŠœāŠĻ āŠ›ે

āĪļāΰ्āĪĩं āĪŠāĪĶāĪŪ् āĪđāĪļāĪĪि

āŠ°āŠļ āŠĨિāŠŊāŠ°ીāŠŪાં āŠ†āŠĩી āŠœાāŠŊ āŠ›ે.



Day-3



Third day started with a very logical and some basic information about human emotions as well as the object increases human emotion in literature,


āŠ†āŠ–ું āŠŪાāŠĻāŠĩāŠœીāŠĩāŠĻ āŠļાāŠŠેāŠ•્āŠ·āŠĪા āŠĨી āŠ­āŠ°ેāŠēું āŠ›ે āŠļાāŠđિāŠĪ્āŠŊ āŠļંāŠ—ીāŠĪ āŠ•āŠēા āŠĩāŠ—āŠ°āŠĻો āŠŪાāŠĢāŠļ āŠķીંāŠ—āŠĄા āŠŠૂંāŠ›āŠĄા āŠĩāŠ—āŠ°āŠĻો āŠŠāŠķુ āŠļāŠŪાāŠĻ āŠŪાāŠĢāŠļ āŠ›ે āŠ­ાāŠĩ āŠ…āŠĻે āŠĩિāŠšાāŠ° āŠŽંāŠĻે āŠœુāŠĶા āŠ›ે

#sense of establishment

āŠ§્āŠĩāŠĻિ āŠļંāŠŠ્āŠ°āŠĶાāŠŊ:

āŠ†āŠĻંāŠĶ āŠĩāŠ°્āŠ§āŠĻ the great who established he was a critic and he gave the theory of language cleanliness with touch of art. Used to edit three major terms in āŠ§્āŠĩāŠĻિ āŠļંāŠŠ્āŠ°āŠĶાāŠŊ: which is written in āŠ•ાāŠĩ્āŠŊ āŠŠ્āŠ°āŠ•ાāŠķ  by āŠŪāŠŪ્āŠŪāŠŸ

āŠ…āŠ­િāŠ§ા
āŠĩ્āŠŊંāŠœāŠĻા
āŠēāŠ•્āŠ·āŠĢા

#āŠ…āŠ­િāŠ§ા

 āМે āŠļીāŠ§ો āŠ…āŠ°્āŠĨ āŠĻીāŠ•āŠģે āŠĪેāŠĻે āŠēāŠˆāŠĻે āŠ­ાāŠ·ા āŠĻી āŠ°āŠšāŠĻા āŠ•āŠ°āŠĩાāŠĻી 
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,
āŠ…ંāŠ§ાāŠ°ું āŠĨāŠŊું
āŠ…āŠœāŠĩાāŠģું āŠ—āŠŊું

#āŠĩ્āŠŊંāŠœāŠĻા

āŠļીāŠ§ો āŠ…āŠ°્āŠĨ āŠŪāŠģે āŠŠāŠĢ āŠ…āŠĻ્āŠŊ āŠ…āŠ°્āŠĨ āŠēāŠˆāŠĻે āŠ­ાāŠ·ાāŠĻી āŠ°āŠšāŠĻા āŠ•āŠ°āŠĩાāŠĻી 
āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

āŠāŠ• āŠŽિāŠēાāŠĄી āŠœાāŠĄી āŠĪેāŠĢે āŠŠāŠđેāŠ°ી āŠļાāŠĄી

āŠŠ્āŠ°āŠ—āŠŸ āŠŠāŠĢ āŠĶેāŠ–ાāŠĪું āŠĻāŠĨી āŠ›āŠĪાં āŠĪેāŠĻે āŠ…āŠĻુāŠ­āŠĩે āŠ›ે āŠĪે āŠœ āŠĩ્āŠŊંāŠœāŠĻા

#āŠēāŠ•્āŠ·āŠĢા

āŠļીāŠ§ો āŠ…āŠ°્āŠĨ āŠ āŠĻāŠđીં āŠĻāŠœીāŠ• āŠĻો āŠ…āŠ°્āŠĨ āŠēેāŠĩો āŠŠāŠĄે āŠ…āŠĻે āŠ­ાāŠ·ાāŠĻી āŠ°āŠšāŠĻા āŠ•āŠ°āŠĩી 
 āЉāŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

āŠŪાāŠ°ુ āŠ˜āŠ° āŠđાāŠˆāŠ•ોāŠ°્āŠŸ āŠ°ોāŠĄ āŠŠāŠ° āŠ›ે (āŠ˜āŠ° āŠ°ોāŠĄāŠĻી āŠĻāŠœીāŠ•āŠŪાં āŠ•્āŠŊાંāŠ• āŠ›ે)
āŠ…ંāŠ§ાāŠ°ું āŠĨāŠˆ āŠ—āŠŊું (āŠœીāŠĩāŠĻāŠŪાં āŠĶુઃāŠ–?

āŠ†āŠĻંāŠĶāŠĩāŠ°્āŠ§āŠĻ: āŠķāŠŽ્āŠĶ āŠķāŠŽ્āŠĶ āŠ›ે āŠķāŠŽ્āŠĶોāŠĻી āŠ›ે.āŠķāŠŽ્āŠĶ āŠ•āŠ°ે āŠļāŠŦોāŠŸ āŠ›ે āŠĪāŠŪે āŠœ āŠķāŠŽ્āŠĶāŠĻો āŠļ્āŠŦોāŠŸ āŠĻો āŠœાāŠĢી āŠķāŠ•ો āŠĪ્āŠŊાં āŠļુāŠ§ી āŠœાāŠĢી āŠķāŠ•ાāŠŊ. āŠ‰āŠĶાāŠđāŠ°āŠĢ āŠĪāŠ°ીāŠ•ે,

 The west land
Eugene Ionesco's  The chairs.


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