Mahir pari's assignment on What are the stages for learning and teaching Second Language? Explain Product Research and Process Research

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Name : Goswami mahir pari c.
Sem : 3
Roll no. : 21
Email Id : goswamimahirpari786@gmail.com
Enrollment no :  20691084201180021
Submitted to : Department of English MKBU
Topic : "What are the stages for learning and teaching Second Language?
Explain Product Research and Process Research"


Second-language acquisition (SLA), second-language learning, or L2 (language 2) acquisition, is the process by which people learn a second language. Second-language acquisition is also the scientific discipline devoted to studying that process. The field of second-language acquisition is a subdiscipline of applied linguistics, but also receives research attention from a variety of other disciplines, such as psychology and education.

A central theme in SLA research is that of interlanguage, the idea that the language that learners use is not simply the result of differences between the languages that they already know and the language that they are learning, but that it is a complete language system in its own right, with its own systematic rules. This interlanguage gradually develops as learners are exposed to the targeted language. The order in which learners acquire features of their new language stays remarkably constant, even for learners with different native languages, and regardless of whether they have had language instruction. However, languages that learners already know can have a significant influence on the process of learning a new one. This influence is known as language transfer.

The primary factor driving SLA appears to be the language input that learners receive. Learners become more advanced the longer they are immersed in the language they are learning, and the more time they spend doing free voluntary reading. The input hypothesis developed by linguist Stephen Krashen makes a distinction between language acquisition and language learning (acquisition–learning distinction),claiming that acquisition is a subconscious process, whereas learning is a conscious one. According to this hypothesis, the acquisition process in L2 (Language 2) is the same as L1 (Language 1) acquisition. The learning process is consciously learning and inputting the language being learned. However, this goes as far as to state that input is all that is required for acquisition. Subsequent work, such as the interaction hypothesis and the comprehensible output hypothesis, has suggested that opportunities for output and for interaction may also be necessary for learners to reach more advanced levels.

Research on how exactly learners acquire a new language spans a number of different areas. Focus is directed toward providing proof of whether basic linguistic skills are innate (nature), acquired (nurture), or a combination of the two attributes. Cognitive approaches to SLA research deal with the processes in the brain that underpin language acquisition, for example how paying attention to language affects the ability to learn it, or how language acquisition is related to short-term and long-term memory. Sociocultural approaches reject the notion that SLA is a purely psychological phenomenon, and attempt to explain it in a social context. Some key social factors that influence SLA are the level of immersion, connection to the L2 community, and gender. Linguistic approaches consider language separately from other kinds of knowledge, and attempt to use findings from the wider study of linguistics to explain SLA. There is also a considerable body of research about how SLA can be affected by individual factors such as age and learning strategies. A commonly discussed topic regarding age in SLA is the critical period hypothesis, which suggests that individuals lose the ability to fully learn a language after a particular age in childhood. Another topic of interest in SLA is the differences between adult and child learners. Learning strategies are commonly categorized as learning or communicative strategies, and are developed to improve their respective acquisition skills. Affective factors are emotional factors that influence an individual's ability to learn a new language. Common affective factors that influence acquisition are anxiety, personality, social attitudes, and motivation.

Individuals may also lose a language through a process called second-language attrition. This is often caused by lack of use or exposure to a language over time. The severity of attrition depends on a variety of factors including level of proficiency, age, social factors, and motivation at the time of acquisition. Finally, classroom research deals with the effect that language instruction has on acquisition.


Definitions

Second language refers to any language learned in addition to a person's first language; although the concept is named second-language acquisition, it can also incorporate the learning of third, fourth, or subsequent languages. Second-language acquisition refers to what learners do; it does not refer to practices in language teaching, although teaching can affect acquisition. The term acquisition was originally used to emphasize the non-conscious nature of the learning process, but in recent years learning and acquisition have become largely synonymous.

SLA can incorporate heritage language learning, but it does not usually incorporate bilingualism. Most SLA researchers see bilingualism as being the end result of learning a language, not the process itself, and see the term as referring to native-like fluency. Writers in fields such as education and psychology, however, often use bilingualism loosely to refer to all forms of multilingualism.SLA is also not to be contrasted with the acquisition of a foreign language; rather, the learning of second languages and the learning of foreign languages involve the same fundamental processes in different situations.

Research background

The academic discipline of second-language acquisition is a subdiscipline of applied linguistics. It is broad-based and relatively new. As well as the various branches of linguistics, second-language acquisition is also closely related to psychology, cognitive psychology, and education. To separate the academic discipline from the learning process itself, the terms second-language acquisition research, second-language studies, and second-language acquisition studies are also used.

SLA research began as an interdisciplinary field, and because of this it is difficult to identify a precise starting date. However, two papers in particular are seen as instrumental to the development of the modern study of SLA: Pit Corder's 1967 essay The Significance of Learners' Errors, and Larry Selinker's 1972 article Interlanguage.The field saw a great deal of development in the following decades. Since the 1980s, SLA has been studied from a variety of disciplinary perspectives, and theoretical perspectives. In the early 2000s, some research suggested an equivalence between the acquisition of human languages and that of computer languages (e.g. Java) by children in the 5 to 11 year age window, though this has not been widely accepted among educators. Significant approaches in the field today are: systemic functional linguistics, sociocultural theory, cognitive linguistics, Noam Chomsky's universal grammar, skill acquisition theory and connectionism.

There has been much debate about exactly how language is learned, and many issues are still unresolved. There are many theories of second-language acquisition, but none are accepted as a complete explanation by all SLA researchers. Due to the interdisciplinary nature of the field of SLA, this is not expected to happen in the foreseeable future. Although attempts have been made to provide a more unified account that tries to bridge first language acquisition and second language learning research.

Sociocultural factors

From the early days of the discipline researchers have also acknowledged that social aspects play an important role.[60] There have been many different approaches to sociolinguistic study of second-language acquisition, and indeed, according to Rod Ellis, this plurality has meant that "sociolinguistic SLA is replete with a bewildering set of terms referring to the social aspects of L2 acquisition". Common to each of these approaches, however, is a rejection of language as a purely psychological phenomenon; instead, sociolinguistic research views the social context in which language is learned as essential for a proper understanding of the acquisition process.

Ellis identifies three types of social structure that affect acquisition of second languages: sociolinguistic setting, specific social factors, and situational factors.Sociolinguistic setting refers to the role of the second language in society, such as whether it is spoken by a majority or a minority of the population, whether its use is widespread or restricted to a few functional roles, or whether the society is predominantly bilingual or monolingual. Ellis also includes the distinction of whether the second language is learned in a natural or an educational setting. Specific social factors that can affect second-language acquisition include age, gender, social class, and ethnic identity, with ethnic identity being the one that has received most research attention.[66] Situational factors are those that vary between each social interaction. For example, a learner may use more polite language when talking to someone of higher social status, but more informal language when talking with friends.

Immersion programs provide a sociolinguistic setting that facilitates second-language acquisition. Immersion programs are educational programs where children are instructed in an L2 language. Although the language of instruction is the L2 language, the curriculum parallels that of non-immersion programs and clear support exists in the L1 language, as the teachers are all bilingual. The goal of these programs is to develop a high level of proficiency in both the L1 and L2 languages. Students in immersion programs have been shown to have greater levels of proficiency in their second language than students who receive second language education only as a subject in school. This is especially true in terms of their receptive skills. Also, students who join immersion programs earlier generally have greater second-language proficiency than their peers who join later. However, students who join later have been shown to gain native-like proficiency. Although immersion students' receptive skills are especially strong, their productive skills may suffer if they spend the majority of their time listening to instruction only. Grammatical skills and the ability to have precise vocabulary are particular areas of struggle. It is argued that immersion is necessary, but not sufficient for the development of native-like proficiency in a second language. Opportunities to engage in sustained conversation, and assignments that encourage syntactical, as well as semantic development help develop the productive skills necessary for bilingual proficiency.

A learner's sense of connection to their in-group, as well as to the community of the target language emphasize the influence of the sociolinguistic setting, as well as social factors within the second-language acquisition process. Social Identity Theory argues that an important factor for second language acquisition is the learner's perceived identity in relation to the community of the language being learned, as well as how the community of the target language perceives the learner. Whether or not a learner feels a sense of connection to the community or culture of the target language helps determine their social distance from the target culture. A smaller social distance is likely to encourage learners to acquire the second language, as their investment in the learning process is greater. Conversely, a greater social distance discourages attempts to acquire the target language. However, negative views not only come from the learner, but the community of the target language might feel greater social distance to the learner, limiting the learner's ability to learn the language.Whether or not bilingualism is valued by the culture or community of the learner is an important indicator for the motivation to learn a language.

Gender, as a social factor, also influences SLA. Females have been found to have higher motivation and more positive attitudes than males for second-language acquisition. However, females are also more likely to present higher levels of anxiety, which may inhibit their ability to efficiently learn a new language.

There have been several models developed to explain social effects on language acquisition. Schumann's Acculturation Model proposes that learners' rate of development and ultimate level of language achievement is a function of the "social distance" and the "psychological distance" between learners and the second-language community. In Schumann's model the social factors are most important, but the degree to which learners are comfortable with learning the second language also plays a role. Another sociolinguistic model is Gardner's socio-educational model, which was designed to explain classroom language acquisition. Gardner's model focuses on the emotional aspects of SLA, arguing that positive motivation contributes to an individuals willingness to learn L2; furthermore, the goal of an individual to learn a L2 is based on the idea that the individual has a desire to be part of a culture, in other words, part of a (the targeted language) mono-linguistic community. Factors, such as integrativeness and attitudes towards the learning situation drive motivation. The outcome of positive motivation is not only linguistic, but non-linguistic, such that the learner has met the desired goal. Although there are many critics of Gardner's model, nonetheless many of these critics have been influenced by the merits that his model holds. The inter-group model proposes "ethnolinguistic vitality" as a key construct for second-language acquisition. Language socialization is an approach with the premise that "linguistic and cultural knowledge are constructed through each other",and saw increased attention after the year 2000. Finally, Norton's theory of social identity is an attempt to codify the relationship between power, identity, and language acquisition.

Sociocultural approaches
A unique approach to SLA is Sociocultural theory. It was originally developed by Lev Vygotsky and his followers. Central to Vygotsky's theory is the concept of a zone of proximal development (ZPD). The ZPD notion states that social interaction with more advanced target language users allows one to learn language at a higher level than if they were to learn language independently.[80] Sociocultural theory has a fundamentally different set of assumptions to approaches to second-language acquisition based on the computational model. Furthermore, although it is closely affiliated with other social approaches, it is a theory of mind and not of general social explanations of language acquisition. According to Ellis, "It is important to recognize... that this paradigm, despite the label 'sociocultural' does not seek to explain how learners acquire the cultural values of the L2 but rather how knowledge of an L2 is internalized through experiences of a sociocultural nature."



 Explain ProductResearch and Process Research.


There are several ways to approach writing in the classroom. It should be said at the beginning that there is not necessarily any 'right' or 'best' way to teach writing skills.

Product and process writing: A comparison - writing article
The best practice in any situation will depend on the type of student, the text type being studied, the school system and many other factors. Thus, this article cannot prescribe a system for the teaching of writing that is optimal for all teaching situations. Rather, I hope to describe and contrast two popular, yet very different, approaches and examine how both can be used in the classroom.

A product approach
A process approach
A summary of the differences
Which approach to use
One or the other
Further reading


A product approach
This is a traditional approach, in which students are encouraged to mimic a model text, which is usually presented and analysed at an early stage. A model for such an approach is outlined below:


Stage 1
Model texts are read, and then features of the genre are highlighted. For example, if studying a formal letter, students' attention may be drawn to the importance of paragraphing and the language used to make formal requests. If studying a story, the focus may be on the techniques used to make the story interesting, and students focus on where and how the writer employs these techniques.

Stage 2
This consists of controlled practice of the highlighted features, usually in isolation. So if students are studying a formal letter, they may be asked to practise the language used to make formal requests, practising the 'I would be grateful if you would…' structure.

Stage 3
Organisation of ideas. This stage is very important. Those who favour this approach believe that the organisation of ideas is more important than the ideas themselves and as important as the control of language.

Stage 4
The end result of the learning process. Students choose from a choice of comparable writing tasks. Individually, they use the skills, structures and vocabulary they have been taught to produce the product; to show what they can do as fluent and competent users of the language.

A process approach
Process approaches to writing tend to focus more on the varied classroom activities which promote the development of language use: brainstorming, group discussion, re-writing. Such an approach can have any number of stages, though a typical sequence of activities could proceed as follows;

Stage 1
Generating ideas by brainstorming and discussion. Students could be discussing qualities needed to do a certain job, or giving reasons as to why people take drugs or gamble. The teacher remains in the background during this phase, only providing language support if required, so as not to inhibit students in the production of ideas.


Stage 2
Students extend ideas into note form, and judge quality and usefulness of ideas.

Stage 3
Students organise ideas into a mind map, spidergram, or linear form. This stage helps to make the (hierarchical) relationship of ideas more immediately obvious, which helps students with the structure of their texts.

Stage 4
Students write the first draft. This is done in class and frequently in pairs or groups.

Stage 5
Drafts are exchanged, so that students become the readers of each other's work. By responding as readers, students develop an awareness of the fact that a writer is producing something to be read by someone else, and thus can improve their own drafts.

Stage 6
Drafts are returned and improvements are made based upon peer feedback.


Stage 7
A final draft is written.

Stage 8
Students once again exchange and read each other's work and perhaps even write a response or reply.

A summary of the differences
Process-driven approaches show some similarities with task-based learning, in that students are given considerable freedom within the task. They are not curbed by pre-emptive teaching of lexical or grammatical items. However, process approaches do not repudiate all interest in the product, (i.e. the final draft). The aim is to achieve the best product possible. What differentiates a process-focussed approach from a product-centred one is that the outcome of the writing, the product, is not preconceived.

Process writing
Product writing
text as a resource for comparison
ideas as starting point
more than one draft
more global, focus on purpose, theme, text type, i.e., reader is emphasised
collaborative
emphasis on creative process
imitate model text
organisation of ideas more important than ideas themselves
one draft
features highlighted including controlled practice of those features
individual
emphasis on end product




Which approach to use
The approach that you decide to use will depend on you, the teacher, and on the students, and the genre of the text. Certain genres lend themselves more favourably to one approach than the other. Formal letters, for example, or postcards, in which the features are very fixed, would be perhaps more suited to a product-driven approach, in which focus on the layout, style, organisation and grammar could greatly help students in dealing with this type of writing task.

Other genres, such as discursive essays and narrative, may lend themselves to process-driven approaches, which focus on students' ideas. Discursive activities are suited to brainstorming and discussing ideas in groups, and the collaborative writing and exchanging of texts help the students to direct their writing to their reader, therefore making a more successful text.


One or the other
The two approaches are not necessarily incompatible. I believe that process writing, i.e. re-drafting, collaboration, can be integrated with the practice of studying written models in the classroom.

What I take from the process approach is the collaborative work, the discussion which is so important in generating and organising ideas. Once students have written their first drafts, model texts can be introduced as texts for comparison. Lightbown found that learning appeared to be optimal in 'those situations in which the students knew what they wanted to say and the teacher's intervention made clear to them there was a particular way to say it.' Teacher intervention through model texts could thus aid the learning process.

I also like to incorporate the exchanging of drafts, so that the students become the readers of each others work. This is an important part of the writing experience as it is by responding as readers, both during the collaborative stage of writing in groups, as well as when reading another group's work, that students develop an awareness of the fact that a writer is producing something to be read by someone else.

As Lewis Carroll makes clear in Alice's adventures in Wonderland.

"I haven't opened it yet," said the White Rabbit, "but it seems to be a letter, written by the prisoner to somebody."
"It must have been that," said the King, "unless it was written to nobody, which isn't usual, you know."

Further Reading
Process Writing by Ron White and Valerie Ardnt
Language Teaching Methodology by David Nunan
Progressive Writing Skills by Will Fowler
Discourse Analysis for Language Teachers by Michael McCarthy.

Modern poem

Modernism was set in motion, in one sense, through a series of cultural shocks. Modernism is with the inner self and consciousness. Modern society is perceived as impersonal, capitalist, and antagonistic to the artistic impulse. War most certainly had a great deal of influence on such ways of approaching the world.



1. T. E. Hulme The Embankment


The poet walking in the street of london and he find ecstasy in blithering kind of thing, he remembers his happy days of his past life as he included in his poem 'Flash of gold heels'. The poet suggests the art for life sake  because the modern writers concentrate on the problems of modern society. Poet also pays attention to poor condition of people. Another metaphor 'blanket of the sky'.



2. Joseph Campbell, Darkness



The poem is described in just four lines. Poet is looking at the stars and thinks that the 'The star no longer' it shows the fall of star. Poet indicates 'Darkness' in the sky because the star was passed away.



3. Edward Storer, ‘Image’

The poem tells the loneliness of foresake lovers. 'Moon' as connection between two lovers but, poet says lovers are burning to white moon. If we read this poem our imagination leads towards loneliness and isolation.


4. Ezra Pound, ‘In a station of the Matro

The title shows city life and hasty life style of modern society. Petals on a wet, black bough. Through this lines poet connects nature with modern life. Bough means branch but poet uses 'black bough' it means dead branch of a tree, poet described it ina negative way.


5. H. D. (Hilda Doolittle), ‘The Pool'


   'Pool' through the word any one can imagine about water. Poem begins with the question 'are you alive?', poet is asked about existence. Water is stored in pool, it shows flawlessness. Starfish as metaphor of restless life which is more accurate example of modern life.



6. Richard Aldington, ‘Incouscious'



 IN and out of the dreary trenches,Trudging cheerily under the stars,    I make for myself little poems    Delicate as a flock of doves.     They fly away like white-winged doves.     



   The first metaphor is dreary teachers  means dark hole and trudging cheerily  means a person drag him self empathatically. So, poet shows both side of human life which can be negative and positive. Here poet uses the example of Dove which is flie away from himself.





7. T. S. Eliot,  Morning at the window


The poem draws a picture of morning with the lots of work and poet uses the metaphor and imagery like 'damp souls of housemaids', also shows poverty of modern life with the different examples, muddy skirts, twisted faces.



8. William Carlos Williams, 'The red wheelbarrow'


Wheelbarrow means one type of cart, imagery of nature, village life. The things depends upon wheel which is used to carrying things. Different metaphors like rain, cart white chickens.


9. Wallace Stevens, Anecdote of the Jar




The poem focuses on the Jar, some kind of object. Tennessee  is the state of America, poet tells us that the Jar was upon the hill but, then jar was round upon the ground. So he suggested that how one owned the place, It took dominion everywhere this line tells us that jar was dominion over there.



10. E. E. Cummings, 'I-a


It is very short poem, the first line
suggests the loneliness and solitude, it is
a separation from the world as the poet
uses the correctly metaphor of leaf
which is falls from its branch.


So, here I tries to given my interpretation about these modern poems......

Interaction with Dr. Javed Khan for ELT

Interaction with Dr. Javed Khan for ELT
Department Of English, MKBU has organized guest lectures for students. I have attain three days session of Dr. Javed Khan sir who come from S.P.UNIVERSITY  VALLABHVIDYANAGAR . The whole session organized by Department of English MKBU.In this session we have at most Dr.Javed  Khan for the sessions.





 

   Dr. Javed khan deal with " English Language Teaching " but that I shared my experience. He delicate in his subject came to intereaction with us.

  Dr.Javed Khan sir's nature and his technique for teaching is easy and impressive  for learners, who try to communicate with students and used to share his own experience. The very first thing which he clear that he is not here, for delivering a lectures "Interaction in Class".

   First interaction on the English Language Teaching he talk about the difference between of teaching of English as native land and English as foreign language both should have different needs and ways to learned. After that the classified their is two part in it English Language Teaching .  For primary and higher education and how students level departs in each level of study and procedure.

Javed sir's Teaching style and our experience.

 
   Lastly he gave guidance or ivan say that a wonderful gift in the form of words ."If You choose your teacher who excel in your subject that he make your good future other wise teacher is not good in your subject that he is going to spoil the future of students.

Here is some points which sir teaches us and interact with in the session of ELT.

What is Initiation ? 
Why do we need initiation?
What is English Language Teaching ?






*Various purpose of  English Language Teaching



1) Key concept on ELT Discussed in class :-

TENL - Teaching English an native language
EFL - english as foreign language
ESP - English for specific purpose
ESL -english for second language
EAP -English for academic purpose


From this points he gave concept about function of  English Language Teaching in every field.

2) Core knowledge discussed in class :

English for academic purpose Liz hampir Lyon assessment and evaluation system.
English for literary purpose
Language of drama , novel and poet .
   From this topic sir talked upon  the examination system of India, Which emphasis on only on the reading skill and writing skills and also be says that EAP is focus on teaching English long like other factors like grammar etc.

   At last how it is to be useful for us as students and in exam and life as teacher  ir ay profession or human being ....

 

Javed sir 's 3 days class will also helpful for me in examination.
 Concept of ELT and other things are clear in my mind.
I have learnt so many new things from sir which  .
As a teacher of ELT, I think that one should have proper knowledge of it ,because only one  knowledgeable and well experienced  teacher  taught ELT perfectly.

Learning Experience :Jay Mehta on E. A.Poe's short stories

Learning Experience :Jay Mehta on E. A.Poe's short stories
Recently we had guest lecture of Dr. Jay Mehta Sir. He talk about Edger Allen Poe’s short stories.


Here, I want to share my experience of learning short stories. Dr. Jay Maheta teach us Poe with use of various examples of poems, movies and dialogues. He try to catch the attention of everyone in class.


This four days, He has talked about Poe’s  short stories like…


1) The Tell Tale Heart

“The Tell-Tale Heart” (1843)
Summary
An unnamed narrator opens the story by addressing the reader and claiming that he is nervous but not mad. He says that he is going to tell a story in which he will defend his sanity yet confess to having killed an old man. His motivation was neither passion nor desire for money, but rather a fear of the man’s pale blue eye. Again, he insists that he is not crazy because his cool and measured actions, though criminal, are not those of a madman. Every night, he went to the old man’s apartment and secretly observed the man sleeping. In the morning, he would behave as if everything were normal. After a week of this activity, the narrator decides, somewhat randomly, that the time is right actually to kill the old man.

2) The Black Cat



3) The Fall of the House of Usher
“The Fall of the House of Usher” (1839)
A striking similitude between the brother and the sister now first arrested my attention. . . .
Summary
An unnamed narrator approaches the house of Usher on a “dull, dark, and soundless day.” This house—the estate of his boyhood friend, Roderick Usher—is gloomy and mysterious. The narrator observes that the house seems to have absorbed an evil and diseased atmosphere from the decaying trees and murky ponds around it. He notes that although the house is decaying in places—individual stones are disintegrating, for example—the structure itself is fairly solid. There is only a small crack from the roof to the ground in the front of the building. He has come to the house because his friend Roderick sent him a letter earnestly requesting his company. Roderick wrote that he was feeling physically and emotionally ill, so the narrator is rushing to his assistance. The narrator mentions that the Usher family, though an ancient clan, has never flourished. Only one member of the Usher family has survived from generation to generation, thereby forming a direct line of descent without any outside branches. The Usher family has become so identified with its estate that the peasantry confuses the inhabitants with their home.
The narrator find
4) The Cask of Amontillado

“The Cask of Amontillado” (1846)
“For the love of God, Montresor!”

Summary
The narrator, Montresor, opens the story by stating that he has been irreparably insulted by his acquaintance, Fortunato, and that he seeks revenge. He wants to exact this revenge, however, in a measured way, without placing himself at risk. He decides to use Fortunato’s fondness for wine against him. During the carnival season, Montresor, wearing a mask of black silk, approaches Fortunato. He tells Fortunato that he has acquired something that could pass for Amontillado, a light Spanish sherry. Fortunato (Italian for “fortunate”) wears the multicolored costume of the jester, including a cone cap with bells. Montresor tells Fortunato that if he is too busy, he will ask a man named Luchesi to taste it. Fortunato apparently considers Luchesi a competitor and claims that this man could not tell Amontillado from other types of sherry. Fortunato is anxious to taste the wine and to determine for Montresor whether or not it is truly Amontillado. Fortunato insists that they go to Montresor’s vaults.5) The Purloined Letter


5) The purloined letter
“The Purloined Letter” (1844)
Summary
In a small room in Paris, an unnamed narrator, who also narrates “The Murders in the Rue Morgue,” sits quietly with his friend, C. Auguste Dupin. He ponders the murders in the Rue Morgue, which Dupin solved in that story. Monsieur G——, the prefect of the Paris police, arrives, having decided to consult Dupin again. The prefect presents a case that is almost too simple: a letter has been taken from the royal apartments. The police know who has taken it: the Minister D——, an important government official. According to the prefect, a young lady possessed the letter, which contains information that could harm a powerful individual. When the young lady was first reading the letter, the man whom it concerned came into the royal apartments. Not wanting to arouse his suspicion, she put it down on a table next to her. The sinister Minister D—— then walked in and noted the letter’s contents. Quickly grasping the seriousness of the situation, he produced a letter of his own that resembled the important letter. He left his own letter next to the original one as he began to talk of Parisian affairs. Finally, as he prepared to leave the apartment, he purposely retrieved the lady’s letter in place of his own. Now, the prefect explains, the Minister D—— possesses a great deal of power over the lady.
6) The Gold Bug
The story, set on Sullivan's Island, South Carolina, is often compared with Poe's "tales of ratiocination" as an early form of detective fiction. Poe became aware of the public's interest in secret writing in 1840 and asked readers to challenge his skills as a code-breaker. He took advantage of the popularity of cryptography as he was writing "The Gold-Bug", and the success of the story centers on one such cryptogram. Modern critics have judged the characterization of Legrand's servant Jupiter as racist, especially because of his comical dialect speech.

Poe submitted "The Gold-Bug" as an entry to a writing contest sponsored by the Philadelphia Dollar Newspaper. His story won the grand prize and was published in three installments, beginning in June 1843. The prize also included $100, probably the largest single sum that Poe received for any of his works. "The Gold-Bug" was an instant success and was the most popular and most widely read of Poe's works during his lifetime. It also helped popularize cryptograms and secret writing.


Poe is a famous for his horror, terror, fear, bloodshed, burying lie, macabre and various psychological abnormalities. His works created the new experience and new concept of viewing world. His works based on suspense and create the atmosphere of wonder and reality, Poe is master of ‘Tales of  mystery and imagination’. Two types of short story he writes :


[1]  Tales of horror and terror.

[2]  Tales of ratiocination.




 Characteristics of Poe's Short stories:



(1)Autobiographical elements in his writing

(2)Writer of Diction language
(3) Great creator of suspense
(4) Inner conflict in characterization
(5) Balance in head and heart


            So This session was very helpful for us. I thankful to our HOD Dr. Dilip Barad Sir for inviting Guest lecturer like Dr. Jay Mehta sir.

Review on the guest lecture on Post-Colonial studies Balaji Ranganathan

Review on the guest lecture on Post-Colonial studies.

This Blog is the feedback on Guest lecturer Balaji Ranganathan sir who came from Central University of Gujarat and he taught us about postcolonial studies.
We had three days sessions from 14th to 16th September 2018, on the  postcolonial paper.



                         Postcolonial studies is very hard to understand but Balaji sir taught each and every unit very wonderful and simple way
 I liked the teaching method of Balaji sir and what were the unique ideas/style/concept I learn from the three days.
--------->  I liked his fluency in English language, pronunciation, vocabulary, tone, voice everything was superb.
 make your surrounding English. Balaji sir also talk to us that daily conversation and communication use English language and set your mind to think about English thoughts.


--------->  Method is very important aspect in teaching learning process if method is not  interesting than students get bore.
So, I liked Balaji sir's method, he made an interaction rather than a lecture, because first he ask students that what you think about the topic and what it is and keep on asking such a questions before the beginning of the topic so students can curious about the topic.


--------->   Balaji sir has very good knowledge about the postcolonial studies. Postcolonial studies very hard, because to teach such a paper one must has the knowledge of the History, Orientalism, religions and geography of regions. Thus, Balaji sir has enough knowledge about different religions, regions, various books, philosophers, theorists etc. .


---------->   I liked the idea about the Net/Set preparation pattern in which Balaji sir gave a unique pattern that solved 8000 MCQ with proper way.

--------->  Sir also talk about the preparation that sir tell us to don't buy expansive books of literature this all material available on internet and read original text because in interview people ask about original points, concept and theory.

--------->.  he said that learn any other foreign language like Chinese, Japani, etc to make good business and earn money to one lakh. So, it was also a new ideas to be succeeded in life.
--------->  Use of Examples:

 Approach approach conflict (++)
 Approach avoidance conflict (+-)
 Avoidance avoidance conflict (--)

Sunday reading : Chimamanda Ngozi Adichie

Chimamanda Ngozi Adichie born on 15 September 1977) is a Nigerian novelist, writer of short stories, and nonfiction.

1) Talks on important of story / literature


                in 2008,adichie was awarded a macarthur genius grant. she was described in the times literary supplement as "the most prominent" of a " procession of critically acclaimed young Anglophone authors is succeeding in attracting a new generation of readers to Africa literature." her most recent book, dear ljeawele, or a feminist manifesto in fifteen suggestions, was published in march 2017. According to me chimamanda Adiche's speaking skills is wonderful and she speaks very clearly. in this vedio chimamanda adiche  talls the story of how she found her authentic cultural voice and warns that if we hear only a single story of about another person or country. she talks about many things like: character, novel, books, coutry, place, culture, nature, she talks about "the things fall apart" written by chinua achebe.



2) we should all be Feminist's:

Second video about the feminism . A very interesting talk on feminism that how society norms discriminate women from men. She gave many example of her life in which her primary incident about the class monitor was interesting. She talked  generally same thought that feminist used to talk  but I like most her thought that Culture not make people but people make culture, so we should change our ideology that we internalised. As a man we should respect women, there are many natural different between men and women in body organs but women have equal ability same as men. We make happier world in which men and women both are equal, we must raise our daughter and son in similar way. So, this about feminism is worth to listen.


3) Talk on importance of truth in Post -Truth Era

     Truth is more important .
     
• She shares her experience of lying in hospital in front of a doctor about her height.
• Another is about traffic.
• Develop a courage to speak truth...
• Again shares her experience. She was a great fan of some of the writer but she was not knowing the one name of his works.
• It's become hard to tell when we were not at best.
• Tells  importance of Harvard University. She considers them as a citizen leaders. But reminds them not to privileges over another but for the change.
• Get into the system, don't be satisfied of the success.
• Change the Media. Media must should be for truth. Not for profit or entertainment.
• Learn to say Don't know...
• Create the habit of  Self doubt...and self belief. 

28th Youth festival

Maharaja Krishnakumarsinhji Bhavnagar University celebrate 28th Youth festival on 26th 27th and 28th October in different  places.In this Youth Festival 's hosted by Takshashila institute of  commerce  and science collage.This started by Yuvarajsinhji Gohil  He and his mother and wife come in this celebration and start this programme.

In this Youth festival every college show own ability and art by their talent and give some of idea to do something different this events like singing,writing,dancing,drawing and acting play also.I was look some of events these i like it and thus I try to explain it in my words.

This programme performed different theater , and it divide 5 place and in this place's Manager and Co-Ordinate also present in and arrange PASS system.

   

1) Shree  Kalaguru  Dharamashi shah Theater First day performance  is in this theater. Group song is perform  there.

        

2)Shree Kiritsinhji gohil theater Act play perform there

   There are three one act play and every play take time 30 minutes,"Sikka ni  be baju",the theme was this play third gender. This defined  the Aristotle's poetry.It give idea about traditional way of play.This can give idea about perspective of  cultural studied  include of third gender society. The second is "Aur mujhe Fakr hai "this plays theme is nationalism it define terrorism violence honesty of soldier and suffering their family.Third one "Papan vache dariyo"this play give idea about life of fish man and his family.He don't come to home during this time what is his family situation this explain in this play.It play like a Robinson Crusoe and we look in this play feminism.

POETRY RECITATION :

       

       In this competition that when we comes that time they give subject and say to write suddenly. In this 20-25 student have take part in this Competition,and this subject like, 'The story of pen',feeling of jungle girl,song of rain and story of jungle girl describe this poem feeling Mara ghare aavo Mara ram story of SHABARI in the  Ramayana.Most of  them have write in Gujarati language and use different and high level words in Gujarati language,Only 2-3 student write good poem in 25 students.

   

    CLAY  MODELING :

                    In every art this art is beautiful and very famous in rural area.many student have take part in this art.But every model like old thus nobody new model in this art.

RANGOLI   :

        In our every function Rangoli is very famous and useful art in the world.There make Rangoli in traditional style with different colors.Some of use only color and flower and water color rope and many other thing use in this competition and try to became some thing good  and  show   their own ability.They draw different some of describe all religion, some of  draw like  FB ,google and etc.

PAINTING ,COLLAGE AND POSTER MAKING :

          Here many picture and poster it describe political, mobile ,and some modern idea.Every give different idea freedom fighter   and whats app's last update's idea describe picture,and man and insects picture.One make shurpankha's picture and it is very interesting.Some like and some do not like every have own choice.

Role of a Theacher and a learner

Teachers play vital roles in the lives of the students in their classrooms. Teachers are best known for the role of educating the students that are placed in their care. Beyond that, teachers serve many other roles in the classroom. Teachers set the tone of their classrooms, build a warm environment, mentor and nurture students, become role models, and listen and look for signs of trouble.

Teaching Knowledge

The most common role a teacher plays in the classroom is to teach knowledge to children. Teachers are given a curriculum they must follow that meets state guidelines. This curriculum is followed by the teacher so that throughout the year, all pertinent knowledge is dispensed to the students. Teachers teach in many ways including lectures, small group activities and hands-on learning activities.

Creating Classroom Environment

Teachers also play an important role in the classroom when it comes to the environment. Students often mimic a teacher’s actions. If the teacher prepares a warm, happy environment, students are more likely to be happy. An environment set by the teacher can be either positive or negative. If students sense the teacher is angry, students may react negatively to that and therefore learning can be impaired. Teachers are responsible for the social behavior in their classrooms. This behavior is primarily a reflection of the teacher’s actions and the environment she sets.

Role Modeling

Teachers typically do not think of themselves as role models, however, inadvertently they are. Students spend a great deal of time with their teacher and therefore, the teacher becomes a role model to them. This can be a positive or negative effect depending on the teacher. Teachers are there not only to teach the children, but also to love and care for them. Teachers are typically highly respected by people in the community and therefore become a role model to students and parents.

Mentoring

Mentoring is a natural role taken on by teachers, whether it is intentional or not. This again can have positive or negative effects on children. Mentoring is a way a teacher encourages students to strive to be the best they can. This also includes encouraging students to enjoy learning. Part of mentoring consists of listening to students. By taking time to listen to what students say, teachers impart to students a sense of ownership in the classroom. This helps build their confidence and helps them want to be successful.

Signs of Trouble

Another role played by teachers is a protector role. Teachers are taught to look for signs of trouble in the students. When students’ behaviors change or physical signs of abuse are noticed, teachers are required to look into the problem. Teachers must follow faculty procedures when it comes to following up on all signs of trouble




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The most important thing when engaging students in any role in school is to acknowledge their first duty: Learning. Their learning is paramount to being meaningfully involved throughout schools. Learning through meaningful student involvement should include: stated learning goals, meaningful action, and sustained, deep reflection.

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Following are a several roles students can have that can transform schools and education forever.

Roles for Students throughout the Education System
Students as Facilitators. Knowledge comes from study, experience, and reflection. Engaging students as learning guides and facilitators helps reinforce their commitment to learning and the subject they are teaching; it can also engage both young and older learners in exciting ways.
Students as Researchers. Identifying issues, surveying interests, analyzing findings, and developing projects in response are all powerful avenues for Student Voice.
Students as Planners. Planning includes program design, event planning, curriculum development, and hiring staff. Students planning activities can lend validity, creativity, and applicability to abstract concepts and broad outcomes.
Students as Organizers. Community organizing happens when leaders bring together everyone in a community in a role that fosters social change. Students community organizers focus on issues that affect themselves and their communities; they rally their peers, families, and community members for action.
Students as Advocates. When students stand for their beliefs and understand the impact of their voices, they can represent their families and communities with pride, courage, and ability.
Students as Evaluators. Assessing and evaluating the effects of programs, classes, activities, and projects can promote Student Voice in powerful ways. Students can learn that their opinions are important, and their experiences are valid indicators of success.
Students as Experts. Envisioning roles for students to teach students is relatively easy; seeing new roles for students to teach adults is more challenging. Students specialists bring expert knowledge about particular subjects to programs and organizations, enriching everyone’s ability to be more effective.
Students as Advisors. When students advise adults they provide genuine knowledge, wisdom, and ideas to each other, adults, schools, and education agencies, and other locations and activities that affect them and their world at large.
Students as Designers. Students participate in creating intentional, strategic plans for an array of activities, including curriculum, building construction, students and community programs, and more.
Students as Teachers. Facilitating learning for themselves, other students and educators, other adults in schools, or adults throughout our schools can be teachers of small and large groups in all kinds of topics. [Examples]
Students as Grant-makers. Students can identify funding, distribute grants, evaluate effectiveness, and conduct other parts of the process involved in grant-making.
Students as Lobbyists. Influencing policy-makers, legislators, politicians, and the people who work for them are among the activities for students as lobbyists.
Students as Trainers. When they train adults, students, children, and others, youth can share their wisdom, ideas, knowledge, attitudes, actions, and processes in order to guide programs, nurture organization and community cultures, and change the world.
Students as Politicians. Running for political office at the community, city, county, or state levels, students can be politicians in a variety of positions. In some places, they can run for school boards or as education trustees too.
Students as Recruiters. Students building excitement, sharing motivation, or otherwise helping their peers and other people to get involved, create change, or make all sorts of things happen throughout schools and the entire education system.
Students as Social entrepreneurs. When students recognize a social problem, they can use entrepreneurial principles to organize, create, and manage a venture to make schools and their communities change.
Students as Paid staff. When schools hire students, they can be staff members in schools and throughout the education system. They can fulfill many roles on this list in paid positions.
Students as Mentors. Mentoring is a non-hierarchical relationship between students and adults, adults and students, or among students themselves, that helps facilitate learning and guidance for each participant.
Students as Decision-Makers. Making rules in classrooms is not the only way to engage students in decision-making. Participating in formal and informal decision-making, students can be school board members, education committee members, and in many different roles throughout schools.
Students as Activity Leaders. As activity leaders in schools and education agencies, students can facilitate, teach, guide, direct, and otherwise lead youth, adults, and children in a variety of ways.
Students as Policy-Makers. When they research, plan, write, and evaluate education rules, regulations, laws, and other policies, students as policy-makers can enrich, substantiate, enliven, and impact the outcomes of policies and schools in many ways.

Example :-

movie review of mourning becomes Electra

Mourning Becomes Electra
Eugene O'Neill's post-Civil War version of the ancient Greek classic was at best 'good for those who like that sort of thing'. The success of the 1931 play proved that there were plenty who did # or who were drawn by the O'Neill name and/or a sense that they owed it to themselves aesthetically to see Electra.

Eugene O’Neill’s post-Civil War version of the ancient Greek classic was at best ‘good for those who like that sort of thing’. The success of the 1931 play proved that there were plenty who did # or who were drawn by the O’Neill name and/or a sense that they owed it to themselves aesthetically to see Electra.

Unfortunately, the picture # although still laden with tense drama # lacks much of the impact of the play. The five-hour play (plus an hour’s intermission for dinner) seemed less long than the 2 hours and 53 minutes of picture, which is run without intermission.

Nichols, who produced, directed and wrote the adaptation for the screen, will rate a bow from the O’Neill lovers in that he has made no compromises. The picture is every bit as unrelenting in its detailing of family tragedy, brought on by the warping effect of Puritan conscience in conflict with human emotion, as was the play. Even the distorted Oedipus relationships are unflaggingly handled. Never is there concession to a smile or other relaxation from the hammering tragedy of murder, self-destruction and twisted, dramatic emotionalism. The legend has been set down in almost modern surroundings and given the locale and speech, the morals and manners of Civil War New England.

Performances are uniformly good, although they never rise beyond the drama that is inherent in the situations themselves. Too often the emoting consists of Rosalind Russell, and Michael Redgrave popping their eyes. Outstanding are Raymond Massey and Henry Hull, the latter in the secondary role of an aged retainer.

1947: Nominations: Best Actor (Michael Redgrave), Actress (Rosalind Russell)

Mourning Becomes Electra

PRODUCTION: RKO. Director Dudley Nichols; Producer Dudley Nichols; Screenplay Dudley Nichols; Camera George Barnes; Editor Roland Gross, Chandler House; Music Richard Hageman; Art Director Albert S. D'Agostino

CREW: (Color) Available on VHS, DVD. Extract of a review from 1947. Running time: 173 MIN.

WITH: Rosalind Russell Michael Redgrave Raymond Massey Katina Paxinou Leo Genn Kirk Douglas

The Homecoming
It is late spring afternoon in front of the Mannon house. The master of the house, Brigadier-General Ezra Mannon, is soon to return from war.

Lavinia, Ezra's severe daughter, has just come, like her mother Christine, from a trip to New York. Seth, the gardener, takes the anguished girl aside. He needs to warn her against her would-be beau, Captain Brant. Before Seth can continue, however, Lavinia's suitor Peter and his sister Hazel, arrive. Lavinia stiffens. If Peter is proposing to her again, he must realize that she cannot marry anyone because Father needs her.

Lavinia asks Seth to resume his story. Seth asks if she has not noticed that Brant looks just like her all the other male Mannons. He believes that Brant is the child of David Mannon and Marie Brantôme, a Canuck nurse, a couple expelled from the house for fear of public disgrace.

Suddenly Brant himself enters from the drive. Calculatingly Lavinia derides the memory of Brant's mother. Brant explodes and reveals his heritage. Lavinia's grandfather loved his mother and jealously cast his brother out of the family. Brant has sworn vengeance.

A moment later, Lavinia appears inside her father's study. Christine enters indignantly, wondering why Lavinia has summoned her. Lavinia reveals that she followed her to New York and saw her kissing Brant. Christine defiantly tells Lavinia that she has long hated Ezra and that Lavinia was born of her disgust. She loves her brother Orin because he always seemed hers alone.

Lavinia coldly explains that she intends to keep her mother's secret for Ezra's sake. Christine must only promise to never see Brant again. Laughingly Christine accuses her daughter of wanting Brant herself. Lavinia has always schemed to steal her place. Christine agrees to Lavinia's terms. Later she proposes to Brant that they poison Ezra and attribute his death to his heart trouble.

One week later, Lavinia stands stiffly at the top of the front stairs with Christine. Suddenly Ezra enters and stops stiffly before his house. Lavinia rushes forward and embraces him.

Once she and Ezra alone, Christine assures her that he has nothing to suspect with regards to Brant. Ezra impulsively kisses her hand. The war has made him realize that they must overcome the wall between them. Calculatingly Christine assures him that all is well. They kiss.

Toward daybreak in Ezra's bedroom, Christine slips out from the bed. Mannon's bitterly rebukes her. He knows the house is not his and that Christine awaits his death to be free. Christine deliberately taunts that she has indeed become Brant's mistress. Mannon rises in fury, threatening her murder, and then falls back in agony, begging for his medicine. Christine retrieves a box from her room and gives him the poison.

Mannon realizes her treachery and calls Lavinia for help. Lavinia rushes to her father. With his dying effort, Ezra indicts his wife: "She's guilty—not medicine!" he gasps and then dies. Her strength gone, Christine collapses in a faint.

The Hunted
Peter, Lavinia, and Orin arrive at the house. Orin disappointedly complains of Christine's absence. He jealously asks Lavinia about what she wrote him regarding Brant. Lavinia warns him against believing Christine's lies.

Suddenly Christine hurries out, reproaching Peter for leaving Orin alone. Mother and son embrace jubilantly. Suspiciously Orin asks Christine about Brant. Christine explains that Lavinia has gone mad and begun to accuse her of the impossible. Orin sits at Christine's feet and recounts his wonderful dreams about her and the South Sea Islands. The Islands represented all the war was not: peace, warmth, and security, or Christina herself. Lavinia reappears and coldly calls Orin to see their father's body.

In the study, Orin tells Lavinia that Christine has already warned him of her madness. Calculatingly Lavinia insists that Orin certainly cannot let their mother's paramour escape. She proposes that they watch Christine until she goes to meet Brant herself. Orin agrees.

The night after Ezra's funeral, Brant's clipper ship appears at a wharf in East Boston. Christine meets Brant on the deck, and they retire to the cabin to speak in private. Lavinia and an enraged Orin listen from the deck. The lovers decide to flee east and seek out their Blessed Islands. Fearing the hour, they painffully bid each other farewell. When Brant returns, Orin shoots him and ransacks the room to make it seem that Brant has been robbed.

The following night Christine paces the drive before the Mannon house. Orin and Lavinia appear, revealing that they killed Brant. Christine collapses. Orin knees beside her pleadingly, promising that he will make her happy, that they can leave Lavinia at home and go abroad together. Lavinia orders Orin into the house. He obeys.

Christine glares at her daughter with savage hatred and marches into the house. Lavinia determinedly turns her back on the house, standing like a sentinel. A shot is heard from Ezra's study. Lavinia stammers: "It is justice!"

The Haunted
A year later, Lavinia and Orin return from their trip East. Lavinia's body has lost its military stiffness and she resembles her mother perfectly. Orin has grown dreadfully thin and bears the statue-like attitude of his father.

In the sitting room, Orin grimly remarks that Lavinia's has stolen Christine's soul. Death has set her free to become her. Peter enters from the rear and gasps, thinking he has seen Christine's ghost. Lavinia approaches him eagerly. Orin jealously mocks his sister, accusing her of becoming a true romantic during their time in the Islands.

A month later, Orin works intently at a manuscript in the Mannon study. Lavinia knocks sharply at the locked door. With forced casualness, she asks Peter what he is doing. Orin insists that they must atone for Mother's death. As the last male Mannon, he has written a history of the family crimes, from Abe's onward. Lavinia is the most interesting criminal of all. She only became pretty like Mother on Brant's Islands, with the natives staring at her with desire.

When Orin accuses her of sleeping with one of them, she assumes Christine's taunting voice. Reacting like Ezra, Orin grasps his sister's throat, threatening her murder. He has taken Father's place and she Mother's.

A moment later, Hazel and Peter appear in the sitting room. Orin enters, insisting that he see Hazel alone. He gives her a sealed envelope, enjoining her to keep it safe from his sister. She should only open it if something happens to him or if Lavinia tries to marry Peter. Lavinia enters from the hall. Hazel moves to leave, trying to keep Orin's envelope hidden behind her back. Rushing to Orin, Lavinia beseeches him to make her surrender it. Orin complies.

Orin tells his sister she can never see Peter again. A "distorted look of desire" comes into his face. Lavinia stares at him in horror, saying, "For God's sake—! No! You're insane! You can't mean—!" Lavinia wishes his death. Startled, Orin realizes that his death would be another act of justice. Mother is speaking through Lavinia.

Peter appears in the doorway. Unnaturally casual, Orin remarks that he was about to go clean his pistol and exits. Lavinia throws herself into Peter's arms. A muffled shot is heard.

Three days later, Lavinia appears dressed in deep mourning. A resolute Hazel arrives and insists that Lavinia not marry Peter. The Mannon secrets will prevent their happiness. She already has told Peter of Orin's envelope.


Peter arrives, and the pair pledges their love anew. Started by the bitterness in his voice, Lavinia desperately flings herself into his arms crying, "Take me, Adam!" Horrified, Lavinia orders Peter home.

Lavinia cackles that she is bound to the Mannon dead. Since there is no one left to punish her, she must punish herself—she must entomb herself in the house with the ancestors.

Thinking activity on Robert Frost poem the design

Robert Frost and Design

Design is a fourteen line sonnet which explores the notion that nature and the whole universe is designed by a malevolent intelligence. It is based on the everyday observation of a spider on a flower holding up a dead moth but essentially the poem is playing around with theological argument.

"And God saw everything that he had made, and behold, it was very good."


From a simple first person scenario the poem moves into more complex narrative, using paradox and allusion and other devices, before ending up with a sestet of puzzling questions.

In typical fashion Robert Frost crafts his poem with technical ingenuity and ambiguity, leaving the reader to work out the answers to a series of questions that defy concrete conclusions. Irony lurks as always, and there are some fascinating shifts of rhythm and rhyme.
Frost's first attempt at this poem came in 1912 and he titled it In White. This first draught was altered ten years later when it was first published as Design (American Poetry 1922: A Miscellany), the definitive version appearing in a collected volume, A Further Range, in 1936.

It was whilst teaching his New Hampshire students metaphysics in 1912 that Frost came across the ideas of William James, a well known psychologist, in his book Pragmatism, which deals with the nature and application of truth. In Lecture 3 there is a fascinating paragraph directly related to Frost's poem:

The mere word 'design' by itself has, we see, no consequences and explains nothing. It is the barrenest of principles. The old question of whether there is design is idle. The real question is what is the world, whether or not it have a designer -and that can be revealed only by the study of all nature's particulars.

So, it is possible to imagine Frost the poet going out one day and observing the spider with the moth on the flower and being inspired to create his sonnet, having had inspiration from the writings of William James.

Design is often seen as Frost's dark response to the classical argument from design, the argument for an intelligent benevolent God. This is why some teachers shy away from this powerful poem, believing it to be a construct against the existence of this good God. My


Further Analysis
Design does ask some profound questions about the nature of the universe, whether or not it is godless - or if there is an omnipotent intelligence why design darkness into the fabric of life?

This sonnet starts off innocently enough, the steady iambic rhythm, familiar and safe, taking the first person speaker outdoors, where a slightly unusual spider is discovered on a wild flower, called a heal-all.

The spider has probably just eaten. It's fat, well fed, dimpled like a baby, and sits on a flower - white against white.

White is highly significant in this poem because it is mentioned several times. It is a symbol of purity and innocence and is often associated with angelic beings in the bible.
And the flower is aptly named. It is a panacea for many different ills in herbal medicine so the fact that the spider is sitting on this plant suggests there is a benevolent relationship between the two?

Hardly. The poet is being ironic, choosing white to contrast deeply with the dark business of the hunting and devouring spider, in cahoots with the ironically named heal-all.
The moth is a prize being held high by the spider, like a piece of rigid satin cloth. This implies that the cloth has been ripped, a parallel with the death veils that cover the dead in a casket or coffin, now raised like a flag.

The predator is victorious, the image becoming a little sinister - from the initial innocence fear is creeping in. And this fear mixes with surrealism in the fifth line, an echo of a breakfast commercial coming through as the three 'ingredients' are likened to a broth, no ordinary broth it turns out.

In Shakespeare's Macbeth the three witches appear in the first scene, and taunt the leading protagonist with their hubble bubble toil and trouble chants. They eventually forecast his downfall, undermining the concept of freewill, implying that there is some grand design behind all life.
The last two lines of the octet describe in rather playful terms what these special ingredients are - so the spider is a snow-drop, the flower a froth (a foam which was supposedly dropped on plants by the moon) and the moth's wings a paper kite.

Online or offline

Online or offline



तू भी ओनलाइन हे ओर में भी ओनलाइन हूं।
बस बातें नही है रही ।
 न जाने क्यूं तू चुप है।
ऐ केसी नाराज गी है ।
तो फिर क्या फ़ाई दा ओनलाइन रेह ने का।
जो तू जे बात ही नहीं कर नी तो।
न जाने क्यूं तुज क्या हुआ है।
क्यू तू पास हो कर भी दूर हो।
क्यू मूजे ही हर बार एमएसजी कर ना पड़ ता है।
जो तू एमएसजी करे गि तो तेरा अभिमान नहीं टूट जाएं गा।
क्यू मजे ही इंतजार करना पड़ता है तेरा।
क्या तू भी मेरे एमएसजी का इंतजार कर रही है।
तो फ़िर तेरा मेरा ओनलाइन रे हने का क्या फायदा " सनम" ।
बस तेरा ओनलाइन देख कर ही खुश है।
पर ई ख़ुशी और भी बढ़ जाती जो तेरा एमएसजी आ जाता।
सुनो री सखी क्या कर रही हो।
तेरे एमएसजी के इंतजार में ओनलाइन होते होते थक चुका हूं।
आब मजे ऑफलाइन कर दे।
सरीफ एक एमएसजी की तो बात है।
सुनो री सखी ई इंतजार बहुत हूं आ।

इसी लिए माही के गए नहीं रही ओनलाइन ओर नहीं ऑफलाइन।
करो इंतजार सखी के ऑन होने कारी उन के ऑन होते - होते सयाद में ऑफ न हो जावू।

रोशनी के संग

के से तेरा शुक्रिया करू, ओ रोसनी।
आज तुने मुजे पूरा कर दिया।
जो कामी थी , वो तूने पूरी की रोशनी।
मुजे उजाला दे कर , खुद अंधेरों में चली गई।
ओ रोशनी , वापस आज तेरे बीन जिंदगी अधूरी सी है।
वापा मुजे मेरी रोशनी से मिला दो कोयी।
तू वापस आज , अब अंधेरों से डर लगता है।
न जाने क्यूं अब अपने आप को देखे नहीं पता।
यार्र वापस आजा ओ

रोशनी ने उजालों से मिला दीया।
तेरा शुक्रिया के से करू तेरा।
तेरे आने से मेरा अंधेरा दूर कर दिया ।
केस शुक्रिया करू तेरा।
माफ़ कर दे यारा में वो खुशी न दे सका ।
तेरी ख़ुशी के बदले तुजे दुख ही दीया।
माफ़ कर दे यारा।
पर तू वापस आजा मेरी रोशनी ।
तेरे जाने से जे से रात- दिन में कोय फर्क ही नहीं ।
आजा वापस एक बार फिर से वही मील ते है जहा।
पहली बार मिले थे ।
फिर से एक बार मील जा वही मोड़ पे जहा मीले थे।
आजा फिर से वेसे ही बात कर ते हे जैसे ,
पहली बार बात की थी।
फिर वैसे ही वापस मिल ते हे जैसे पहली बार मिले थे।
तेरी रोशनी के बिना में अधूरा हूं।
वापा स मील जा वैसे ही जैसे चांद को रात का इंतजार रहे ता है।
वे से ही मील जा वापस यारा।
तेरा बिना जिंदगी जे से रेगिस्तान में प्यासे को पानी वैसे तेरे बिना जिंदगी आधुरी है।

इसी लिए "माही" के गए सुनो री रोशनी ।
आवो री रोशनी वापस एक हो जाय ।

दो जाम मेखाने के नाम

ऐ केसी तनहा पन से गुजर रहा हूं ।
आज तो ये जाम की प्यालियां भी जैसे बागी सी है ।
आज फिर किसी की यादों ने दील पे दस्तक दी है ।
ओर फिर से आखे नम सी हो रखी है ।
न जाने क्यूं आज ये सराब का नशा फिका हो गया ।
आज फिर गम ने घेर लिया है ।
आज आशु भी लफ्ज़ बन कर रो रहे है।

क्या बताएं जनाब आज-कल उजालों का दामन छोड़ दी या है।
बस अब य मेखाने की बुज ती हुई रोशनी से ही पयार हों गया है।
न जाने कब वो सूरज की रोशनी का दीदार किया था।
लम्बा समय हो गया उस रोशनी को देखे।

अब अंधेरी रात से ओर इस जाम की प्यालियां के साथ वकत बीत जाता है।
जनाब पहले मुझे लगता था की में अकेला हूं पर इस मेखान में बेठा हर एक इंसान
उजालों के फरेब का सिकार हुए हैं।

इसी लिए "माही"  के गए करी ऐ संग मेखाने का निर्वाण हो ई,
जलदी ,ओर जो उजालों के पीछे जय ता ज़िन्दगी हो ई नरक।

શું કરે છે તું ?

કેમ છે તને શું કરે છે ?
તું નથી તરી વાતો નથી તારી યાદ છે.
 બસ હવે શું થશે એજ નથી સમજાતું .
શું કામ તું સાવ આમ મને છોડી ચલી ગયી .
તારો નય તો કઈ નય મારો તો વિચાર કરિયો હોતા.
શું કરે છે તુ હવે તો મરી વાતો પન અધૂરી છે.
તારા વગર હું પન પૂરો છું કે અધૂરો એ પન ખબર નથી.
સાવ આમજ છોડી ચાલી જવું તુ તો તુ શું કામ આવી તી.
તારા વગર પન જીવું છુ ને તારી યાદો સાથે પન જીવું છું.
બસ હવે  છેલા સ્વાસ ની રાહ જોવ છું.
શું કરે છે તુ ?

બસ હવે ન તો તરી યાદ આવે છે નાતો એ વીતે લો સમેય,
બસ હવે તો આસુ ઓ પન સુ કાય ગયા છે.
હવે ફરી જીવ માં જીવ તો આવો છે.
પરંતુ એ પ્રેમ ને તારી યાદો હવે પાછી ન આવે તો સારું.
હવે હું ફરી નથી તૂટવા માગતો.
તે ને તરી યાદો એ બોવ તોડી નાખો છે હવે ફરી થી હું ટૂટી ન હી સકું.

બસ તુ જેમ ચાલી ગય એમ હું પન ચાલો  જાય.
હું એકલા જીવતા સીખી ગયો છું.

બસ હવે તુ પન જીવ તા શીખી જા.
શું કરે છે તુ ?

Post view Task The Birthday party

Post-Viewing Tasks:
1)  Why are two scenes of Lulu omitted from the movie?
---> Its depend on directors mind where is no necessity to follow original text important is the essence of tax is remained there so doing that omitted 2 scene of Lulu still the essence or sequence order maintained by director so is it all ok.

2)  Is movie successful in giving us the effect of menace? Where you able to feel it while reading the text?
Yes when we visualise something its give more effect on us just because when we reading at the time we have to imagine and our imagination fulfill what we read means at that time what come in our mind that type of image we portrait in character but when we visualise at that time we can find the original characters with their own nature and their on significant and at that time we can easily analyse them.
1).When the Dono and Stanley try to hide a him in kitchen at that moment.
2). when the to stranger I started questioning and Stanley have no answer and so much question trolley comes.
3) in the last scene when Stanley go with them.
4)  and second if we find that Stanley try to speak but he cannot speak at that time they said that now we become a gentleman.

5)  Do you feel the effect of lurking danger while viewing the movie? Where you able to feel the same while reading the text ?


6)   What do you read in 'newspaper' in the movie? Petey is reading newspaper to Meg, it torn into pieces by McCain, pieces are hidden by Petey in last scene.
Newspaper names outside the world. The power control bye Petey. and the reflection thatpetey is more know about outside world then McCain. In last scene we find that the Petey hidden the pieces it means he knows something about Stanley but you don't reveal the original thing which McCain don't know.


7)  Camera is positioned over the head of McCain when he is playing Blind Man's Buff and is positioned at the top with a view of room like a cage (trap) when Stanley is playing it. What interpretations can you give to these positioning of camera?

Camera is positioned over the head of McCain when he is playing Blind Man's Buff , it means McCain don't know what's going on but still she try to cover up and she is thinking like that all is going good. When is positioned at the top with a view of room like a cage (trap) when Stanley is playing it, it means Stanley is cover up by two strangers and now there is no scope To out of the condition. It represent that went too powerful Nation are Force to third country then that country has to sacrifice.

Example :- America and Russia border Bombay Dyeing in Syria.

6 "Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles." (Pinter, Art, Truth & Politics: Excerpts from the 2005 Nobel Lecture). Does this happen in the movie?
------>. yes, some extent it happens in the movie. Everyone has love and care for each other for instance Meg, lulu and Petey show care for Stanley but at the end when Stanley is in problem no one can helps or even care. So, we can connect this with

1) India faith for Kashmiri people but there are problems still going on and there is no solution.

2) America and Russia fighting in Syria.

3) biggest issue of Philistine.

4) Naxalite Movement.

7)    How does viewing movie help in better understanding of the play ‘The Birthday Party’ with its typical characteristics (like painteresque, pause, silence, menace, lurking danger)?
Yes it's a helpful to understand birthday party just because when we reading at that time we have to imagine and sometime our personal imagination also come in reading so that's why the character become very complicated to understand but when we watching movie at that time we come to know the character are visualise so they are in their characteristics and we can analyse them as they are so that's why movie is better than reading.

8)       With which of the following observations you agree:

o   “It probably wasn't possible to make a satisfactory film of "The Birthday Party."
o    “It's impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin”[3]. (Ebert

---> It probably wasn't possible to make a satisfactory film of "The Birthday Party."
Yes it is too tough to make movie just because its manner of comedy and absurdity so it's impossible to describe that all thing that's why it is impossible to make movie on that type of topics.

---> It's impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin”[3].
Yes that is also true that is impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin.

9 )  If you were director or screenplay writer, what sort of difference would you make in the making of movie?

No I have not make any kind of change and go with the original text and also the same dialogue delivery and Same location I have to put in movie not a single thing I want to change this because it's a perfect no need to change that's why

10)       Who would be your choice of actors to play the role of characters?

1) Stanley.      ----- >    Sanjay Dutt

2) Lulu.         ----->    Katrina Kaif

3) Petey          ----->.  K.K.menon

4) McCann.       ----->.   Jaya bachchan

5) Meg.          ------>.    Nawazuddin Siddiqui

6) Coldberg.      ------>.    Manoj bajpai.

Thinking activity on waiting for Godot

1) What connection do you see in the setting (“A country road. A tree.Evening.”) of the   
   play and these paintings?
In movie we find that countryside road and tree and evening is reflection of nothing to be done or nothingness represent.
All so in this painting the difference is the Sky colour and the tree background is also different.

2) The tree is the only important ‘thing’ in the setting. What is the importance of tree in both acts? Why does Beckett grow a few leaves in Act II on the barren tree - The tree has four or five leaves - ?

The tree is reflection of absurdity and it's apt for the background that's why tree is more important in this setting. They also try to make suicide and thy used tree but they are not getting success,

In second act we find that there is 2,3, leaves come it's reflect that nature has no connection with humanity or there is no connection between nature and human being just because nature has grown on itself nature never wait for anything and when time come nature will change that is the reflection of second act.

3) In both Acts, evening falls into night and moon rises. How would you like to interpret this ‘coming of night and moon’ when actually they are waiting for Godot?

In both the act we find that when night comes its reflection of there life how are absurd  they are waiting for something is not come so finally the night is reflection of there lost or something that they want to achieve but then not achieve or then not get success,
And when the moon rise it's  reflect that there is one hope that The Dark night will be end with this beautiful moon and there life darkness is also and just like night will end and morning comes so the moon is reflection of hope in Dark night.

4) The director feels the setting with some debris. Can you read any meaning in the contours of debris in the setting of the play?



5) The play begins with the dialogue “Nothing to be done”. How does the theme of ‘nothingness’ recurs in the play?

Just becauseboth the character do lots of activity to " kill time " but there is nothing happen in the life it represent that a failure person that never achieve something or that person's life is nothing or absurdity we find just because there is no hope for good thing happened that's why and after doing all the things still there nothing to be done y just because they are waiting for someone or like they want to achieve something in the life and they are in the way but still that don't find it that's why the life is " nothing to be done."

6)  Do you agree: “The play (Waiting for Godot), we agreed, was a positive play, not negative, not pessimistic. As I saw it, with my blood and skin and eyes, the philosophy is: 'No matter what— atom bombs, hydrogen bombs, anything—life goes on. You can kill yourself, but you can't kill life." (E.G. Marshal who played Vladimir in original Broadway production 1950s)?

Yes just because its representation of absurdity and philosophy an existentialism, that's why display is not negative or Pessimistic just because it's a reflection of hope that at the end of the life there is good thing happened up till and of the last breath we have to wait for something which give us success peace honour or some kind of social important anything which we are waiting for.

7) How are the props like hat and boots used in the play? What is the symbolical significance of these props?

Hat represent the intellectuality , when boot represent the some physical or outside world Dzire, when Hat represent mentally or thinking philosophical touch that person who remember history and then facing so much problem just because he know the things which happened or what next come that's why so in that way we can interpret at that hat represent intellectuality and boots represent outside world Desire.


8) Do you think that the obedience of Lucky is extremely irritating and nauseatic? Even when the master Pozzo is blind, he obediently hands the whip in his hand. Do you think that such a capacity of slavishness is unbelievable?

Here I want to give some post colonial point of you just like this play come after Second World War so I want to give interpretation like pozzo was European countries and lucky represent third world which become free after Second World War they get independence but still the facing problem now they are habituated or the like the master that's why we see that after they become independent but somehow there is some sense or essence of colonization we still find after they become independent or we can say that the more love to their Masters after becoming Independents still they want their master to rule them.

9) Who according to you is Godot? God? An object of desire? Death? Goal? Success? Or  . . .

Its depend on person just because on my point of you " godot is peace " just because this play come after Second World War so here we find that the player writer or at that times majorly literary work facing absurdity nothingness or westworld become hopeless that's why on my point of you godot is peace.
10 )    “The subject of the play is not Godot but ‘Waiting’” (Esslin, A Search for the Self). Do you agree? How can you justify your answer?

No I am not agree with this argument just because at the end of the play we find that both the character are waiting for godot and their motive want to meet godot and they are just " killing time " just because they are waiting so we think that waiting is the main theme but not at all just because finally the main theme is to achieve something in life or something for what is not in our life but we want that so it is like a struggle to achieve something that is the thing what I have understand.

11) Do you think that plays like this can better be ‘read’ than ‘viewed’ as it requires a lot of thinking on the part of readers, while viewing, the torrent of dialogues does not give ample time and space to ‘think’? Or is it that the audio-visuals help in better understanding of the play?

In the both the way we something missing if we reading then we have to imagine what was the condition when we are watching at that time we cannot pose oh no 1 dialogue just because dialogue delivery are going so fast we cannot focus on any one particular dialogue or we cannot stop there but if we read first play then we watch it's better to understand so on my point of view is both the thing we have to do then and then we can understand very well deeply.

12) Which of the following sequence you liked the most:
o   Vladimir – Estragon killing time in questions and conversations while waiting

Vladimir and Estragon: The Had and the Boot

o   Pozzo – Lucky episode in both acts
o   Converstion of Vladimir with the boy

Conversation of Vladimir with the boy just because in Act 1 when boy come at that time Vladimir some conversation going on with boy and finally come to know that the boy is messenger of Godot and ask lots of questions and boy try to give answer and at the end
Vladimir say to boy that

" tell to Godot we are waiting for him ".

But when next time in next act we find that one more time boy come and same conversation going on and Vladimir asking same question and boy still give him same answer second time and finally Vladimir tell to the boy
" tell to Godot that I am waiting here ".....



13) Did you feel the effect of existential crisis or meaninglessness of human existence in the irrational and indifference Universe during screening of the movie? Where and when exactly that feeling was felt, if ever it was?

When second time godot is not coming so that time . Only boy come


14) Vladimir and Estragon talks about ‘hanging’ themselves and commit suicide, but they do not do so. How do you read this idea of suicide in Existentialism?

Suicide in existentialism we find that it's a symbolically represent the death by philosophy  suicide means philosophical suicide at that moment person stop to thinking that is the suicide which we call philosophical suicide.

15) Can we do any political reading of the play if we see European nations represented by the 'names' of the characters (Vladimir - Russia; Estragon - France; Pozzo - Italy and Lucky - England)? What interpretation can be inferred from the play written just after World War II? Which country stands for 'Godot'?

Vladimir - Russia;
Estragon - France;
Pozzo - Italy and
Lucky - England
Godot - Germany ( Hitler )

16 )So far as Pozzo and Lucky [master and slave] are concerned, we have to remember that Beckett was a disciple of Joyce and that Joyce hated England. Beckett meant Pozzo to be England, and Lucky to be Ireland." (Bert Lahr who played Estragon in Broadway production). Does this reading make any sense? Why? How? What?



17) The more the things change, the more it remains similar. There seems to have no change in Act I and Act II of the play. Even the conversation between Vladimir and the Boy sounds almost similar. But there is one major change. In Act I, in reply to Boy;s question, Vladimir says:

"BOY: What am I to tell Mr. Godot, Sir?
VLADIMIR: Tell him . . . (he hesitates) . . . tell him you saw us. (Pause.) You did see us, didn't you?
How does this conversation go in Act II? Is there any change in seeming similar situation and conversation? If so, what is it? What does it signify?

In second act we find that VLADIMIR remember all the things what was happened yesterday or in  Fist act but boy didn't remember all the things and now one more time he say that remember us but now in second time the dialogue exchange and he say remember only me that is the thing is changed.



Last I want to give one Gujarati devotional song example it's also represent of nothingness and existentialism.