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About this Journal
The IJLS is published quarterly by Indian Association of Health, Research, and Welfare. It is an indexed and peer-reviewed journal in both print and online version. The journal is indexed with ProQuest, J-Gate, and others. IJLS is being published regularly since 2011. The Journal welcomes the submission of manuscripts that meet the general criteria of scientific excellence in the field of Hindi, English, Sanskrit, Urdu and other literary subjects. For more details visit journal page on www.iahrw.com or write to us at iahrw2019@gmail.com
Managing Editor: Dr. Sunil Saini, President IAHRW
For any query write to us at iahrw2019@gmail.com
ISSN: 2231-4652 (print version)
ISSN: (electronic version)
Frequency: Quarterly
Editorial Board
MANAGING EDITOR
Sunil Saini, PhD
Indian Association of Health Research and Welfare, Hisar, Haryana, India
EDITORS
Manoj Chhabra, PhD, Haryana Education Services, Hisar, Haryana
Neetu Sangwan, PhD, Hindu Girls College, Sonepat, Haryana
Reetu Sardana, PhD, D.N. College, Hisar, Haryana
S. K. Vasistha, PhD, D.N. College, Hisar, Haryana
Sudhir Kumar, PhD, Govt. College, Birohar, Jhajjar, Haryana
Yashu Rai Tayal, PhD, D.N. College, Hisar, Haryana
Editor-in-Chief: Dr. Sunil Saini, President IAHRW
For any query write to us at iahrw2010@gmail.com
ISSN: 2231-3642 (print version)
ISSN: ****-**** (electronic version)
Frequency: Quarterly
Indexing: ProQuest, ProQuest Central, J-Gate
Sample paper
Submit your Article
For login click here
Authors and Ethical Guidelines
Author’s guidelines:
International Journal of Literary Studies (IJLS) is a peer-reviewed research journal published quarterly by Indian Association of Health, Research and Welfare. The IJLS is indexed with ProQuest, J-Gate, etc. The journal welcomes the submission of manuscripts that meet the general criteria of scientific excellence in the area of Languages particularly English, Hindi, Sanskrit and other languages. IJLS is published Quarterly (March, June, September and December).
Manuscripts should be submitted in the format of MLA (Modern Language Association) Style and should be sent via email at iahrw2010@gmail.com. The papers are reviewed by professional reviewers who have specialized expertise in the respective area, and to judge the quality of the paper in a time bound and confidential manner. The paper shall be review by double blind review process.
Permission
Authors wishing to include figures, tables, or text passages that have already been published elsewhere are required to obtain permission from the copyright owner(s) for both the print and online format and to include evidence that such permission has been granted when submitting their papers. Any material received without such evidence will be assumed to originate from the authors.
Online Submission
Please follow the hyperlink “Submit online” on the right and upload all of your manuscript files following the instructions given on the screen.
The title page should include:
• The name(s) of the author(s)
• A concise and informative title
• The affiliation(s) and address(es) of the author(s)
• The e-mail address, and telephone number(s) of the corresponding author
Main Text
Manuscripts should be submitted in Word.
References
References should be as per MLA format as follows
Here is an example of how an actual citation (in this case, for a book) looks when written using the 8th edition style:
O’Carol, John. “The Dying of the Epic.” Anthropoetics, vol. 30, no. 2, 2011, pp. 48-49.
Copyright form
Authors will be asked to transfer copyright of the article to the Publisher (or grant the Publisher exclusive publication and dissemination rights). This will ensure the widest possible protection and dissemination of information under copyright laws.
Proof reading
The purpose of the proof is to check for typesetting or conversion errors and the completeness and accuracy of the text, tables and figures. Substantial changes in content, e.g., new results, corrected values, title and authorship, are not allowed without the approval of the Editor. After online publication, further changes can only be made in the form of an Erratum, which will be hyperlinked to the article.
Ethical Guidelines for the author
• Authors should adhere to publication requirements that submitted work is original and has not been published elsewhere in any language. Work should not be submitted concurrently to more than one publication unless the editors have agreed to co-publication. If articles are co-published this fact should be made clear to readers.
• Copyright material (e.g. tables, figures or extensive quotations) should be reproduced only with appropriate permission and acknowledgement.
• Relevant previous work and publications, both by other researchers and the authors’ own, should be properly acknowledged and referenced.
• Data, text, figures or ideas originated by other researchers should be properly acknowledged and should not be presented as if they were the authors’ own
• All sources of research funding, including direct and indirect financial support, supply of equipment or materials, and other support (such as specialist statistical or writing assistance) should be disclosed.
• Authors should disclose the role of the research funder(s) or sponsor (if any) in the research design, execution, analysis, interpretation and reporting
• The research literature serves as a record not only of what has been discovered but also of who made the discovery. The authorship of research publications should therefore accurately reflect individuals’ contributions to the work and its reporting.
• In cases where major contributors are listed as authors while those who made less substantial, or purely technical, contributions to the research or to the publication are listed in an acknowledgement section, the criteria for authorship and acknowledgement should be agreed at the start of the project.
• Researchers should ensure that only those individuals who meet authorship criteria (i.e. made a substantial contribution to the work) are rewarded with authorship and that deserving authors are not omitted. Institutions and journal editors should encourage practices that prevent guest, gift, and ghost authorship.
• All authors should agree to be listed and should approve the submitted and accepted versions of the publication. Any change to the author list should be approved by all authors including any who have been removed from the list. The corresponding author should act as a point of contact between the editor and the other authors and should keep co-authors informed and involve them in major decisions about the publication (e.g. responding to reviewers’ comments).
• Authors should work with the editor or publisher to correct their work promptly if errors or omissions are discovered after publication.
• Authors should abide by relevant conventions, requirements, and regulations to make materials, reagents, software or datasets available to other researchers who request them. Researchers, institutions, and funders should have clear policies for handling such requests. Authors must also follow relevant journal standards. While proper acknowledgement is expected, researchers should not demand authorship as a condition for sharing materials.
• Authors should follow publishers’ requirements that work is not submitted to more than one publication for consideration at the same time.
• Authors should inform the editor if they withdraw their work from review, or choose not to respond to reviewer comments after receiving a conditional acceptance.
• Authors should respond to reviewers’ comments in a professional and timely manner.
• Appropriate approval, licensing or registration should be obtained before the research begins and details should be provided in the report (e.g. Institutional Review Board, Research Ethics Committee approval, national licensing authorities for the use of animals).
• If requested by editors, authors should supply evidence that reported research received the appropriate approval and was carried out ethically (e.g. copies of approvals, licences, participant consent forms).
• Researchers should not generally publish or share identifiable individual data collected in the course of research without specific consent from the individual (or their representative). Researchers should remember that many scholarly journals are now freely available on the internet, and should therefore be mindful of the risk of causing danger or upset to unintended readers (e.g. research participants or their families who recognise themselves from case studies, descriptions, images or pedigrees).
• The appropriate statistical analyses should be determined at the start of the study and a data analysis plan for the prespecified outcomes should be prepared and followed.
• Researchers should publish all meaningful research results that might contribute to understanding. In particular, there is an ethical responsibility to publish the findings of all clinical trials. The publication of unsuccessful studies or experiments that reject a hypothesis may help prevent others from wasting time and resources on similar projects. If findings from small studies and those that fail to reach statistically significant results can be combined to produce more useful information (e.g. by meta-analysis) then such findings should be published.
• Authors should supply research protocols to journal editors if requested (e.g. for clinical trials) so that reviewers and editors can compare the research report to the protocol to check that it was carried out as planned and that no relevant details have been omitted. Researchers should follow relevant requirements for clinical trial registration and should include the trial registration number in all publications arising from the trial.
Editor-in-Chief: Dr. Sunil Saini, President IAHRW
For any query write to us at iahrw2010@gmail.com
ISSN: 2231-3642 (print version)
ISSN: ****-**** (electronic version)
Frequency: Quarterly
Indexing: ProQuest, ProQuest Central, J-Gate, USA Library
Peer Review Policy
Peer Review
All content of the International Journal of Literary Studies is subject to peer-review. The Editor first checks and evaluates the submitted manuscript, examining its fit and quality regarding its significance, manuscript format, research quality. If it is suitable for potential pubication, the Editor directs the manuscript for Plagiarism check, and the minimum similarity acceptable is below 20% without references. After that, editor directs the manuscript to two reviewers, with both being experts in the field. This journal employs double-blind review, wehre the author and referee remains anonymous througout the process. Referees are asked to avaluate whetehr the manuscript is original, makes a theoretical contribution to the study, methodoogy is sound, follos appropriate ethical guidelines, whether the results are clearly presented and sufficient supporting studies are given and support the conclusion. The time for evaluation is approximately one month. The Editor’s decision will be sent to the author with recommendations made by the referees. Revised manuscripts might be returned to the initial referees who may then request another revision of the manuscript. After both reviewer’s feedback, the Editor decides if the manuscript will be rejected, accepted with revision needed or accepted for publication. The Editor’s decision is final. Regerees advise the Editor, who is responsible for the final decision to accept or reject the article.
Compaint policy
We ain to respond to and resolve all complaints quickly. All complaints will be acknowledged within a week. For all matters related to the policies, procedures, editorial content, and actions of the editorial staff, the decision of the Editor-in-Chief shall be final. The procedure to make a complaint is easy. It can be made by writing an email to editor: iahrw@iahrw.org
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Pages:145-148 बलबीर सिंह (एन.एम. गवर्नमैंट पी.जी काॅलेज, हांसी, हिसार, हरियाणा) मध्यकालीन भारत में भक्ति तथा सूफी दो महत्वपूर्ण आंदोलनों का उदय हुआ। दोनेां आंदोलनों का उद्देश्य धर्म तथा समाज में आई कुरूतियों को दूर करना था। भक्ति आंदोलन एक ंिहंदू धर्म आंदेलन था जबकि सूफी एक इस्लामी धर्म आंदोलन था। ’वैसे तो भारत के विभिन्न भागों मे धार्मिक, सामाजिक सुधार आंदोलन एवं 9वीं शताब्दी से ही चलते आ रहे थे’1 लेकिन 16वीं शताब्दी तब आते-आते इन आदांेलनों ने महत्वूपर्ण भूमिका अदा की। सल्तनत राज्य की स्थापना के साथ मुस्लिम देशों से बड़ी संख्या में सूफी भारत में आए तथा देश की विभिन्न हस्सिों में बस गये। भारत में इस्लाम के आगमन से भारतीयों को सामाजिक, राजैनति एवं सांस्कृ िजीवन में हलचल पैदा कर दी व एक मिश्रित संस्कृति की आधाशीला रखी। हिंदू व मुस्लिम संस्कृतिक में सामंजस्य स्थापित करने के लिए ही भक्ति व सूफी आंदोलन चले हिन्होंने तेहरवीं शताब्दी से सौलहवीं शताब्दी तक भारत मंें अपना प्रभाव डाला। Pages:145-148
बलबीर सिंह (एन.एम. गवर्नमैंट पी.जी काॅलेज, हांसी, हिसार, हरियाणा) |
Pages:149-150 रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार, हरियाणा) डाॅ. लक्ष्मी नारायण लाल द्वारा रचित नाट्य साहित्य में ’मादा-कैक्टस का प्रमुख स्थान है। इस नाटक का सर्वप्रथम मंचन 6 नवम्बर, 1956 को आका शवाणी रंगशाला इलाहाबाद के तत्वाधान में आफिसर्स ट्रेनिंग स्कूल के मंच पर स्वयं लेखक के निर्देशन में किया गया था। आलोच्य नाटक में प्रतीकों की प्रमुख विद्यमान है। इन प्रतीकों के विशय में स्वयं लेखक ने मादा कैक्टस की भूमिका में स्पश्ट किया है कि ’’ बात टेढी थी, इसलिए इसमें प्रतीकों का सहारा लेना पड़ा। संगीत से लेकर कार्य तक, घटनाओं से पात्रों तक, नीलाम के बाजे से अनाथालय के बच्चों के गीत तक, मादा कैक्टस से मुर्गाबी चिड़िया तक। आप कह सकते हैं कि अजी, इतने प्रतीक है! प्रतीक की भाशा कौन समझे?पर मैं कहता हॅंू प्रतीक की अपनी कोई अलग भाशा नहीं होती, प्रतीक को स्वयं नाटक की प्रकृत भाशा और सहज बोली है- ऐसी भाशा जो हम नित्य प्रति के जीवन में बोलते हैं। चेतन अचेतन रूप में जिन्हें हम सम्प्रेशणीयता और बोध तत्व के माध्यम बनाते हैं। इस तरह में प्रतीक हमारी अभिव्यक्ति के जीवन आधार हैं। अतः हमारे व्यक्तित्व के अंग हैं, जैसे स्वप्न अंग हैं और नाटक में प्रतीक का धर्म केवल यह है कि वह समवेध बात को, तत्य को, शब्दों की अपेक्षा कहीं अधिक सीधे और शक्तिशाली दंग तथा सुंदर रूप से Pages:149-150
रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार, हरियाणा) |
Pages:151-154 बलबीर सिंह (एन.एम. गवर्नमैंट पी.जी काॅलेज, हांसी, हिसार, हरियाणा) प्राचीन काल में हरियाणा प्रदेश में शिक्षा की दशा काफी उन्नत थी। वैदिक युग में शिक्षा के दो उद्देश्य थे प्रथम जीवन को सुखमय तथा प्रतिश्ठित बनाना और दूसरा मोक्ष की प्राप्ति। हरियाणा में प्राचीन काल में कोई गुरूकुल थे इनमें राखीगढी, स्याणा, बधोत, दोसी, दुबलधन, कलायत, ब्यासस्थली, पेहवा और थानेसर आदि प्रसिद्ध थे। इनके अतिरिक्त अन्य सैंकड़ो गुरूकुल थे। वैदिककाल के बाद शिक्षा प्रणाली में कई परिवर्तन आए। पाठ्यक्रम काफी सीमा तक व्यापक हो गया। ब्राह्मणों के अतिरिक्त दो और प्रकार के गुरूकुल या मठ अस्तित्व में आए जिन्हें बोद्ध या जैन आचार्य चलाते थे। शिक्षा का स्तर इस समय काफी प्रभावशाली था। समकालीन साहित्य जैसे ब्राह्मण आदि हरियाण क्षेत्र के लोगों की शैक्षणिक योग्यता के बारे मंे अति प्रशंसा करते थे। बाण भट्ट सातवीं शती की स्थिति तक का गवाह है वह कहता है कि महाराजा से लेकर छोटे दासों तक सभी उच्च शिक्षा से विभूशित थे। Pages:151-154
बलबीर सिंह (एन.एम. गवर्नमैंट पी.जी काॅलेज, हांसी, हिसार, हरियाणा) |
Pages:155-157 Rakesh Mittal (Department of History, Shri Ram College, Kaithal, Haryana) हरियाणा सरकार ने अपनी स्थापना के साथ ही कृशि की उन्नति की ओर विशेश ध्यान दिया। 1966-70 तक हरियाणा सरकार ने कृशि क्षेत्र से जुड़ी हुई समस्याओं को पहचाना तथा 1970 के बाद इन समस्याओं को तेजी से हल करने का प्रयास करना। कृशि क्षेत्र से जुड़ी समस्याओं को हल करने के लिए सरकार ने 1970 के बाद कई एजैन्सीयों व निगमो की स्थापना की जिन्हें भिन्न-भिन्न कृशि क्षेत्र से जुड़ी समस्याओं को हल करने का कार्य सौंपा गया। इन ऐजैन्सियों व निगमों ने बडी मेहनत के साथ कार्य किया। इनके द्वारा कृशि क्षेत्र से जुडी समस्याओ को हल करने के लिए जो कार्य किए गए उसके प्रगतिशील परिणाम भी जल्द ही सामने आए। इन ऐजैसियो के प्रयास के फलस्वरूप ही हरियाणा में विभिन्न फसलो के अधीन जहां कृशि क्षेत्र में बढोतरी हुई वही कुल उत्पादन व औसत प्रति एकड उत्पादन में भी वृद्धि दर्ज की गइ। जहां 1996 में हरियाणा में धान के अंतर्गत कृशि क्षेत्र 1.22 लाख हैक्टेयर तथा औसत उपज 11.16 कि. प्रति हैक्टेयर थी वहा 2001 तक यह बढ़कर क्रमशः 16.5 व 30 कि. हो गई।1 Pages:155-157
Rakesh Mittal (Department of History, Shri Ram College, Kaithal, Haryana) |
Pages:158-160 प्रवीन कुमारी (CMJ University, Shillong, Meghalaya) मानवीय संबंधें का स्वरूपः सामान्य परिचयः- कहानीकार एक सामाकि प्राणी होने के कारण मनुष्यों के बीच रहकर ही किसी कृति की रचना करता है। कहानीकार अपने युगीन परिवेश के प्रति प्रतिब ( रहता है, यह उस प्रतिबद्धता के प्रति लेखक की इमानदारी मानी जाती है कि उसके कथ्य का मूल विषय मानवीय संबंध है। लेखक समाज का एक अभिन्न अंग होने के कारण अपने आसपास के परिवेश को अति सूक्ष्मता से देख-परख कर ही उसे साहित्य में परिलक्षित करता है। लेखक का मानववादी होना स्वाभाविक है। इस संबंध में डाॅ. हेतु भारद्वाज का मानना है कि, ‘‘देशकाल मानव संस्कृति के निर्धरक तत्व है और संस्कृति के साथ मनुष्य का युक्तिसंगत रिश्ता होता है तथा व्यक्तिगत रूप से मानव अपने चारों ओर से संसार, समाज, क्रियाशीलता तथा संगठनों से अपना संबंध स्थापित कर उनका अंग बन जाता है।’’ इस प्रकार मानव में परस्पर संबंध स्थापित होने शुरू हो जाते है। Pages:158-160
प्रवीन कुमारी (CMJ University, Shillong, Meghalaya) |
Pages:161-162 Devender Singh (CMJ University, Shillong, Meghalaya, Working as a Lecturer in Jat College Hisar) India has had links with the West from the dawn of her history. As early as 1500 B.C. her first European invaders, the Aryans, came through the north-western passes and settle on the bank of the river Indus to build up a civilization, which in course of time came to dominate and assimilate all the separate culture of the sub-continent. It was inevitable that these early European would look back to their roots, and fact that they did not so almost uninterruptedly till the Middle Age has been established by historians and scholars of antiquity. Political, economical and intellectual connection between India and Europe are evident in several cultural parallels at certain points of history. During the middle Ages, there was little or no direct connection between India and west. It was once again established during the second European invasion of the east. Pages:161-162
Devender Singh (CMJ University, Shillong, Meghalaya, Working as a Lecturer in Jat College Hisar) |
Pages:163-167 Sarika More and Ghazala Anjum (Department of English, CMJ University, Shillong) The Shadow Lines is, by common consent, Ghosh's Best work. It is a story that arises out of the narrator's reminiscences, recollected in tranquility and looked at ith all the wisdom of the hind sight. It is abut essentialization as a process, and its questioning in various ways. The novel covers a large span of period; it tells the story of the three generations of the narrator's family spread over Dhaka, Calcutta and London. Chronologically, the story begins with passage about the time in colonial India when the narrator was not even born. In the first section of the book titled 'Going Away', Ghosh recaptures London on the eve of, and during the War. This knowledge of War was gained by the adolescent story-teller not from books but from the experiences of his uncle who exercised an indelible impression on him. This uncle tells him the stories which give him the words to travel in and eyes to see with. In the section 'Coming Home', Ghosh shifts his focus to the Indian subcontinent, mainly to Calcutta and Dhaka where he tries to find the meaning of political freedom. Pages:163-167
Sarika More and Ghazala Anjum (Department of English, CMJ University, Shillong) |
Pages:168-172 Priyanka Meel and Ghazala Anjum (Department of English, CMJ University, Shilling) Shakespeare's plays present us with a "universe of dialogues" ("ein Universum der Dialoge"1), and the immense variety of dramatic dialogues in his works is indeed astonishing. Within this universe, the persuasive dialogue is but one form, which, though it represents but a small number of Shakespeare's dialogues, provides some of his most memorable scenes. Despite his indisputably exceptional position as a playwright, Shakespeare is also symptomatic of his time which has frequently been characterized as a dialogic period or, more specifically, as an age "giving priority to the mode of dialogic scepticism over monological dogmatism"2.Since dialogue is a constitutive element of drama, and drama is "the outstanding literary genre of the age"3, Shakespeare's universe of dialogues might be seen as one indication of the priority which dialogue had over monologue in the Renaissance. The 'dialogic skepticism' achieving pre-eminence in the Renaissance is unquestionably related to the developing focus on the individual which is also highly characteristic of the age. Surely, it is quite significant in this context that Bloom ascribes the invention of the "inner self" and of "the human as we know it" to Shakespeare's dramatic art.4 Pages:168-172
Priyanka Meel and Ghazala Anjum (Department of English, CMJ University, Shilling) |
Pages:173-175 Vadite Ranga Naik (Department of History, CMJ University, Shillong) Mahmud of Ghazni plundered India 17 times in a short time span of around 25 years and looted India off its wealth and resources. The areas around Gujarat and Kannauj were rich and prosperous and were looted mercilessly by Mahmud. This wealth helped him consolidate his hold and power over northern India. He made many palaces and mosques with the looted wealth in Ghazni located in central Asia. After plundering India many times, he finally died in Ghazni in 1030 A.D. The Rajput kings were fighting among themselves for the possession of princely states during the 11th and 12th centuries. They seized every slight opportunity to engage wars against each other. This was also the time when Prithviraj rose to power and married the daughter of the king Jaichand of Kannauj by abducting her from the middle of her wedding. At this time, Mohammed Ghori was planning to invade India and the Rajput king thought he just wanted to loot India and go back. Thus, he decided to become an ally of Mohammed Ghori and help him defeat Prithviraj. But when he came to know that Ghori wanted to establish a kingdom here, he half heartedly joined Prithviraj along with other Rajput kings and together they were able to defeat Mohammed Ghori. But Prithviraj let him go when Ghori appealed to him. However, the very next year the Afghans launched another attack on Prithviraj and defeated him badly at the war. Ghori however, did not set Prithviraj free and the kingdoms of Prithviraj went in the hands of Qutub-ud-din. With the conquest of Mohammed Ghori, India saw for the first time a proper dynastic rule.[1] Pages:173-175
Vadite Ranga Naik (Department of History, CMJ University, Shillong) |
Pages:176-177 Devender Singh (Research Scholar in CMJ University, Working as a Lecturer in Jat College Hisar) India has had links with the West from the dawn of her history. As early as 1500 B.C. her first European invaders, the Aryans, came through the north-western passes and settle on the bank of the river Indus to build up a civilization, which in course of time came to dominate and assimilate all the separate culture of the sub-continent. It was inevitable that these early European would look back to their roots, and fact that they did not so almost uninterruptedly till the Middle Age has been established by historians and scholars of antiquity. Political, economical and intellectual connection between India and Europe are evident in several cultural parallels at certain points of history. During the middle Ages, there was little or no direct connection between India and west. It was once again established during the second European invasion of the east. Pages:176-177
Devender Singh (Research Scholar in CMJ University, Working as a Lecturer in Jat College Hisar) |
Pages:178-180 Vadite Ranga Naik (Department of History, CMJ University, Shillong) The period from the 8th to 12th century in political life in India is particularly dominated by the presence of large number of states. The bigger ones tried to establish their supremacy in northern India and the Deccan. The main contenders in this struggle for supremacy were the Pratiharas, the Palas and the Rashtrakutas. In the south the most powerful kingdom to emerge during this period was that of the Cholas. The Cholas brought about the political unification of large parts of the country but the general political picture was that of fragmentation particularly in northern India. It was in this period that India's contact with the new religion of Islam began. The contacts began late in the 7th century through the Arab traders. Pages:178-180
Vadite Ranga Naik (Department of History, CMJ University, Shillong) |
Pages:181-183 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) वन्य संस्कृत भाषा का शब्द है। वन्य का मतलब है वन में उत्पन्न होने वाला , अर्थात् कोई जंगली जैसे- वन्य पशु या मानव।1 ज्ंागली भूमि पर जन्म लेने व पलने वाला जीवन वन्य जीवन कहलाता है। उसको संस्कृत रुप देने की क्रिया अथवा संस्कार या आचरणगत परम्परा ही संस्कृति है। इस प्रकार वन्य जीवन की संस्कृति का अर्थ है वनवासियों की आचरणगत पंरम्परा। वन मे रहने वाले लोगों के रीति रिवाज, उत्सव, सहयोग की भावना, रहन-सहन, खान-पान, वस्त्राभूशण, घर वातावरण आदि के वर्णन द्वारा वन्य जीवन की स्ंास्कृति का पता चलता है। डा. सूर्य नारायण द्विवेदी के उपन्यासों ’आशाशिशु’ व ’अत्रेयी अपाला’ में वन्य जीवन की संस्कृति का बडा सुन्दर वर्णन किया गया है। ’आशाशिशु’ उपन्यास में लेखक ने वनवासियों के जीवन का चित्रण किया है। उपन्यास को पढते ही पाठक के सामने सम्पूर्ण आदिवासियों की दिनचर्या घूम जाती है। इस उपन्यास में उपयमा नामक एक नवयोवना एकान्त में झोपडी बनाकर रहती है। उसकी दिनचर्या का वर्णन लेखक ने किया है। जैसे ’उपयमा’ की फूंस की बनी झोपडी को कोमल एंव हरे पेड-पौधों ने ढक रखा था, इसके भीतर कुछ मिटटी Pages:181-183
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:184-188 रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) हरियाणा का नाम लेते ही एक ऐसे राज्य की छवि मानस पटल पर अंकित जो जाती है, जिसका अतीत समुज्ज्वल, धनधान्य से भरपूर और शौर्यपूर्ण है। यहाँ पर पुरातत्व और इतिहास का अपूर्व संगम देखने को मिलता है। हरियाणा भूमि एक कर्मभूमि है। यहाँ की जातियों में सदैव भारत भाग्य चक्र को गतिमान किया है। यहाँ की कुरूक्षेत्र जैसे धार्मिक क्षेत्र, पानीपत के कोसों तक फैले हुए रणक्षेत्र, आज भी यहाँ की जनता को कर्तव्य के लिए तत्पर करते रहते हैं। यहाँ की जलवायु में ऐसे तत्व विद्यमान हैं जो शक्ति एवं उत्साह देते हैं। यहाँ की शिवालिक गिरिमालाएं लाखों वर्षों पूर्व आदि मानव का अधिवास रही हैं। भौगोलिक, सांस्कृतिक एवं ऐतिहासिक दृष्टि से यह प्रांत महत्वपूर्ण है। यह देव-भूमि, संस्कृति का पालना और राज्यों का ही नहीं समस्त भारत का भाग्य विधाता रहा है। वैदिक युग में यह ऋषियों का पावन तपस्थल था। कितने ही शास्त्र, ग्रन्थ एवं पुराण इसी पवित्र स्थान में प्रणीत हुए। वेदों की ऋचाओं और पवित्र मंत्रों के उच्चारण से गुंजित यह भूमि आज भी उस स्वर्णिम अतीत के रूप की झलक देकर जीवन की पवित्रता का संदेश देती रहती है। Pages:184-188
रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) |
Pages:189-191 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) उपन्यास, चाहे वह ऐतिहासिक हो अथवा सामाजिक, कल्पना प्रधान हो अथवा यथार्थ-प्रधान उसमें मानव चरित्र का चित्र अवश्य होता है। अतः उसमें मानव के स्वभाव, गुण,रुचियों एवं कार्य-व्यापारों का, अन्तर्मन के तलस्पर्शी अध्ययन से सम्पुश्ट चित्रण अपेक्षित है। उसमें मानव चरित्र एवं उसके कार्य-व्यापारों का अधिकाधिक संजीव,स्वाभविक एवं कलापूर्ण चित्रण होना चाहिए। मुन्शी प्रेमचन्द जी कहते हैं-‘‘ उपन्यासों के लिए पुस्तकों से मसाला न लेकर जीवन से ही लेना चाहिए।’’1 आत्रेयी अपाला’ उपन्यास के स्रष्टा ड़ा. सूर्यनारायण जी की औपन्यासिक कला में प्रौढ़ता एवं सुष्ठुता है। इस उपन्यास में वैदकालीन अभिशप्त अपाला के जीवन की विडम्बनाओं, विदू्रपताओं का लेखक ने मार्मिक चित्रण किया है। सामान्यतः उपन्यास के छह प्रमुख तत्व माने जाते है- कथावस्तु, पात्र एंव चरित्र-चित्रण, कथोपकथन, देशकाल अथवा वातावरण, भाषाशैली एंव उद्ेश्य। इन तत्वों का उपन्यास में होना अनिवार्य माना जाता है और किसी भी उपन्यास का तात्विक मूल्यांकन इन्हीं तत्वों को ध्यान में रखकर किया जाता है। ‘आत्रेयी अपाला’ उपन्यास में इन तŸवों का निर्वाह पूर्णरुप से हुआ है। Pages:189-191
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:192-197 रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) ’’लोकगीत दो शब्दों ’लोक’ और ’गीत’ के मेल से बना है जिसका सामान्य अर्थ लोक के गीत से लिया जाता है। लोक से जुड़े गीतों को ही लोकगीतों की संज्ञा मिलती है। जहाँ लोक शब्द का प्रयोग जीव, स्थान, भुवन, साधारण जनता, जनता के कार्य कलाप समस्त प्रजाजन आदि के लिए किया जाता है वहीं ’गीत’ शब्द का अर्थ सामान्यतः गेयता है। वस्तुतः ’गीता’ शब्द का अर्थ प्रायः उस कृति से है जो गेय है।’’1 अतएव कहा जा सकता है कि लोकगीत में गेयता तत्व का होना अनिवार्य है। संगीत और लय इसके जीवन है इसी कारण लोकगीत को स्वतः स्फूर्त की संज्ञा दी गई है ’आदिम लोकमानस के लिए काव्य का सर्वोत्तम लक्षण उसका संगीत तत्व अथवा गेयात्मकता थी। संगीतहीन काव्य मुक्त छंद अथवा लयहीनता, उसके लिए प्रत्यक्ष असंगतियां थी।2 यह भात भी दी गई है कि आदिमानस ने भी वाणी को गीत के ही रूप में सर्वप्रथम देखा था। इसीलिए गीत को मानव की सर्वप्रथम उपलब्धि माना गया है। आज भी लोकजीवन में लोकगीतों का महत्त्वपूर्ण स्थान है। माधुर्य, सरलता, रस और लय की प्रमुखता के फलस्वरूप हमारा लोकजीवन पूर्ण रूप से गीतों में लिपटा ही नजर आता है। पण्डित रामनरेश त्रिपाठी ने ठीक ही लिखा है कि ’’ग्रामीण (लोकगीत) हृदय का धन हैं, महाकाव्य मस्तिष्क का। ग्राम गीतों में रस है, महाकाव्य में अलंकार, उस स्वाभाविक है और अलंकार मनुष्य निर्मित।’’3 ’लोकगीत’ शब्द अंग्रेजी के ’फाकसांग’, जर्मनी के ’वाक’ शब्द का मूल हिंदी रूपान्तर है।4 अब मूल प्रश्न हमारे सामने उभर कर आता है कि जब गीतों का संबंध अथवा मूल तत्व गेयता है तो फिर इसका लोक साहित्य कैसा सम्बन्ध हो सकता है? डाॅ॰ विद्या चैहान के अनुसार - ’’हमारी निभ्रांत धारणा यह है कि संगीत और साहित्य में कलात्मक प्रभाव का कोई अंतर नहीं है, अंतर है स्वर और अर्थ की प्रधानता और अप्रधानता का। संगीत और साहित्य दोनों का मूल अधिष्ठान नाद है। एक में वह नाद शब्दों की सीमाओं को छु कर अपने प्रभाव संपादन के लिए पुनः अपने अपने स्थान की ओर लौट आता है और दूसरे में नाद शब्द तक पहुँच अपनी अर्थगत प्रभावशीलता के लिए वहीं टीक जाता है। दोनों का उद्गम हृदय है।’’5 अतएव कह सकते हैं कि गीत विद्या होने के बावजूद लोकगीत द्वारा जनजीवन से पूरी तरह जुड़ा है। लोकसाहित्य अथवा लोकगीतों की गेयता अथवा सामाजिकता के बिना कल्पना करना संभव नहीं है। Pages:192-197
रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) |
Pages:198-200 Arvind Nasier (Research Scholar, C.M.J. University, Meghalaya) The central social theme in Look Back in Anger is class struggle. Although Jimmy Porter was born in a working-class family, Look Back in Anger cannot be labelled as a working-class play. Its protagonist Jimmy Porter no longer belongs to the working classes, because he is “first-generation, university-educated, emerging middle-class” (Heilpern 174). Jimmy dropped out of university since he no longer felt at ease with his emerging new social status. He did not want to lose his pure link with the working classes in which he was born but it was already too late. He has arrived in no-man's land, stuck in-between “the working class, to which he belongs emotionally and the middle classes, to which he belongs by right of education” (Skovmand 86). Pages:198-200
Arvind Nasier (Research Scholar, C.M.J. University, Meghalaya) |
Pages:201-202 Arvind Nasier (Research Scholar, C.M.J. University, Meghalaya) Look Back in Anger (1956) is John Osborne's most renowned play. He dedicated the play to his beloved father in remembrance of his early death. The title of Look Back in Anger determines the underlying theme: the play is “motivated by outrage at the discovery that the idealized Britain, for which so many had sacrificed themselves during the war years, was inauthentic” (Innes, Modern British Drama: 1890-1990 102). Protagonist Jimmy Porter could no longer live within this kind of society and he got isolated and alienated. Heilpern concluded that Osborne had considered six other titles for the play: Farewell to Anger, Angry Man, Man in a Rage, Bargain from Strength, Close the Cage behind You and My Blood is a Mile High (163). Eventually Osborne chose the title Look Back in Anger, inspired by the Leslie Paul's homonymous autobiography about “a disillusioned social philosopher […] who lost faith in Soviet Russia during the 1930s” (Heilpern 163-164). His choice made perfect sense because disappointment in society is a major characteristic of both the plays. The plot of Look Back in Anger was affected by A Streetcar Named Desire (1947), a play of the American playwright Tennessee Williams: Pages:201-202
Arvind Nasier (Research Scholar, C.M.J. University, Meghalaya) |
Pages:203-205 मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) स्ंस्कृतं संस्कृतेर्मूलं ज्ञान-विज्ञानवारिधिः। वेदतत्त्वार्थसंजुष्टं लोकालोककरं शिवम्।। (कपिलस्य) भारतीयसंस्कृतेः स्वरूपम् का नाम संस्कृतिः?संस्कृतिः संस्कारश्च इति शब्दौ एकार्थकौ। मनसः आत्मनो वा संस्कारं करोति या सा संस्कृतिः। सम् इत्युपसर्गपूर्वककृञ्धतोः ‘स्त्रिायां क्तिन्’ प्रत्यये सति संस्कृतिः इति शब्दः निष्पन्नो भवति परिष्करणं, संस्करणं, दुर्भावदहनञ्च संस्कृतिः इति। संस्कृते विचारस्वातन्त्रयं, सदाचारपालनं, धर्मप्राधन्यं, दुर्भावदमनं, पाप-अपाकरणं, दुःखदहनं, ज्ञानज्योतिप्रदानं, अविद्यातमोपहरणं, सुखसाधनं, सत्यं स्थापनं, असत्यप्रशमनं, शन्तिप्रदानं, विश्वबन्धुत्वस्थापनं मनोऽमलीकरणं इत्यादयः दुर्लभा गुणा विराजन्ते। संस्कृतिः हि जीवनोन्नतिसाधिनी, सद्गुणग्राहिणी, सत्यपथविहारिणी ज्ञानज्योतिप्रचारिणी च। आर्याणां खलु क्षयमेव परमपावनो भारतदेशो यस्य भाषा संस्कृतिश्च परमप्राचीने जगतः प्रारम्भिके च विद्येते। भारतीयासंस्कृतिः विश्वस्य सर्वासु संस्कृतिषु प्राचीना श्रेष्ठा प्रेष्ठा च इति सर्वैः विद्व˜िः अनुमोद्यन्ते। Pages:203-205
मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) |
Pages:206-207 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) When Nectar in a Sieve was published in 1954, it was hailed as a genuine novel of rural India. Hari Mohan Prasad termed it "an epic of the Indian life at the grass-roots, a full view of the village life where peasant grow and live suffer and endure and emerge more dignified, more human in their elements with their tattered rags, their dying moans and their obstinate clinging to the soil like the stump withered all over but its roots delved in the earth." The novel depicts the story of a simple peasant couple from south India. Rukmani recasts her life from her marriage to Nathan, a landless farmer who was "poor in everything but in love," till his death in the city and her return home. The villagers are tradition-bound and superstitious. Most of them are illiterate. The novel deals with industrialization and its impact on rural human life. The social problems like poverty, hunger, beggary, lack of family planning, the element of crime, unemployment, prostitution caste system, demoralization superstitions and beliefs, dowry system, low status of woman in family, marriage system, zamindari system are very realistically drawn by Kamala Markandaya in this novel. Their over-all characteristics can be summed up by what. Kenny says about them. Calling them "Acquiescent imbeciles"(p.114), he retorts 'I work among you when my spirit wills it....... I go when I am tired, of your follies and stupidities, your eternal, shameful poverty. I can only take you people....... in small doses.'(p.71) Pages:206-207
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:208-209 Neeraj (Department of English, BPSU, Khanpur Kalan, Sonepat, Haryana) Feminism is a collection of movements and ideologies aimed at defining, establishing, and defending equal political, economic, and social rights for women. This includes seeking to establish equal opportunities for women in education and employment. A feminist advocates or supports the rights and equality of women. The words "feminism" and "feminist' first appeared in France and the Netherlands in 1872, Great Britain in the 1890s, and the United States in 1910. The present paper analyses Toni Morrison's Feminist project in Beloved. It explores feminist consciousness in the social content of the novel and the mode through which the writer expresses her message. In order to do this, the study embarks on a critical review of Morrison's artistic works, including, Sula (1973), Song of Solomon (1977), Beloved (1988) and Paradise (1997). A review of critical works on Morrison has also been done and this highlights Beloved as the richest of all Morrison's novels in terms of social concerns and style, for a feminist review This has been proved in our analysis of how she expresses the emergence of the modem African- American woman. Beloved won the Pulitzer Prize for Literature in 1988, while Morrison as a writer won the Nobel Prize for Literature in 1993, and this enhanced the interest in choosing this novel for the research. A review of other critical material detailing African American history and the experience of slavery has enabled the contextualization of Beloved within the historical epoch it belongs to. The liberal feminist framework has been utilized to advance the gender analysis of the social relations in the texts. In addition, the sociological framework has been identified as central to the analysis due to its focus on society. Thus a socio-feminist perspective has been taken as the orientation of the study. Our research realizes that Morrison has a feminist agenda for her society, as revealed through her Social and stylistic concerns. Through her thematic concerns, she points out the era of slavery as a key point in time when the lives of black women were interrupted and patriarchy subjugated them. The study notes with interest the foregrounding of the female characters as principal actors in the liberation process. They have taken up the important role of being her mouthpieces. At the same time, she has utilized her stylistic strength, where through the process of active 'rememory', the characters recreate their past through dialogue. This has offered the female characters, and by extension African- American women, a discursive space, where they are able to express their view on the past and present. Pages:208-209
Neeraj (Department of English, BPSU, Khanpur Kalan, Sonepat, Haryana) |
Pages:210-212 मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) ‘सर्वः स्वार्थं समीहते’ पूर्णतः सत्या चरितार्थैवोक्तिरियम्। नानाधिव्याधिसघ्कुले लोकेऽस्मिन् अनेके पुरुषा जन्म लभन्ते, जीवन्ति म्रियन्ते च। परन्तु सर्वे समानरूपेण नैव व्यवहरन्ति। स्वार्थाय तु सर्वे एव स्वं जीवनं यापयन्ति किन्तु भवन्ति केचन विरला एवेदृशा जनाः स्वार्थं परित्यज्य परहितायैव भवति येषां जीवनम्। धनस्यार्थं ते नैव जीवन्ति। न केवलं धनमपितु तेषां सर्वस्वमेव परहिताय भवति। उक्तं हि यथा- उदारस्य तृणं वित्तं शूरस्य मरणं तृणम्। विरक्तस्य तृणं भार्या निस्पृहस्य तृणं जगत्।। (महासुभाषितानि)उदारपुरुषा निखिलं विश्वं स्वपरिवारवत् स्वीकुर्वन्ति। ईदृशाः समुदारपुरुषा एव यशोभागिनो भवन्ति। उक्तमपि- उत्तमा मानमिच्छन्ति मानो हि महतां धनम्। (चाणक्यनीति) प्रायो जनाः स्वार्थपरायणा भूत्वा ‘इदं मम, इदं तव, इदं मम क्षेत्रं गृहम्’ वेति मत्वा विवदन्ति, कलहोऽपि जायते परस्परम्। ते परेषां सर्वस्वमेव लुण्ठनार्थं प्रयतन्ते। ईदृशाः स्वार्थपरायणा जना लज्जां, नयं, भयं, मानुषत्व´्चापि परित्यज्य महन्ति पापानि कुर्वन्ति। घोराणां युद्धानां कारणमपि स्वार्थसाध्नं स्वार्थपरा प्रवृत्तिरेव। इदन्तु सर्वविदितमेव यदीदृशाः स्वार्थसाधनतत्पराः जनाः अन्ततो गत्वा पापकर्मणां दुष्फलमवश्यमेव लभन्ते, दुःख´्चानुभवन्ति। हिरण्य- शिपुहिरण्याक्षरावणकुम्भकर्णशिशुपालदुर्याेधनादयः सन्त्यत्र निद- र्शनानि। तदा का कथा सामान्यजनानाम्? Pages:210-212
मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) |
Pages:213-215 Neeraj (Department of English, BPSU, Khanpur Kalan, Sonepat, Haryana) India is a multi-religious country and its composite population consists of people belonging to all major religious faiths in the world. Originally the word 'secular' was no where mentioned in the constitution, although the framers of our constitution were committed to the values of secularism and enshrined these principles in secular articles of the constitution in unmistakable terms. To reinforce the principles of secularism, recently, the constitution has been amended and specific mention has been made to secularism in order to confirm the basic nature of our body politic. A theoretical definition of 'secularism' in a political context is given here by 'Donald E.Smith'. Pages:213-215
Neeraj (Department of English, BPSU, Khanpur Kalan, Sonepat, Haryana) |
Pages:216-217 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) Nectar in a Sieve is designed to capture the tragedy of Indian village life affected by poverty, hunger and the influx of modernization. The rural folk, particularly the farmers are helpless victims of natural, social and economic forces that are beyond their grasp. Markandaya has had the experience of living and working in villages when she was involved in social work. She understood the problems of the peasant class; saw their suffering, their resentment to industrialization and their distrust of industrial and economic change. It is through the story of Rukmani that Markandaya gives voice to subaltern. The novel becomes very powerful due to stark depiction of Indian reality economic backwardness problem of large family. Illiteracy and helpless complacency with which the farmers endure the assault of existence. The novel revolves round the questions of poverty economic deprivation, social taboos and traditional outlook Markandaya gives a first hand picture of a typical farmer woman through Rukmani who is strong, hard working, uncomplaining, 'tolerant and able. Rukmani has often becn compared to the 'mother earth' and to Shakti. She is resolute and once. She takes a step, she sticks to it as is revealed in the first few paragraphs of the novel when she upholds her decision to bring the leper boy, Puli with her from the city, “What is done is done there can be no repining” (P.I), she says. The novel takes off from this point and a reflective benevolent, affectionate but strong Rukmani recount her life and through her the village community is revealed to us. Pages:216-217
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:91-92 Parvir Kumar (Department of English, Jat College, Rohtak, Haryana) The rise of the novel coincides with the birth of the nation. Africa has long been a part of the literature of imperialism beginning in the late eighteenth century and flourishing in the nineteenth century. The ideology of nationalism seeded out of imperialism and formulated its aspirations in the soil of foreign conquest. In order for British nationalism and nationhood to flourish, "Africa" becomes a necessary construct within those discourses. In other words, Africa becomes a necessary object in relation to which the West can define itself, thereby affirming its own identity and implied authority. The physicality of the African subject in Heart of Darkness perpetuates the racial discourses employed by the West in their representation of the African subject; differences read as primordial, essential and natural. The textual histories constructing discourses of Africa and African identity are located in the disciplines and genres of colonial anthropologies, travel narratives and literary representations, revealing how the histories of colonial narratives locate and imagine the concept of Africa. Europe's sense of nationhood is inextricably linked with its former colonial margins. The notion of modernity as a European invention becomes an essential trope in discourses within which Europe locates itself and constructs the difference of its racial and cultural others. Pages:91-92
Parvir Kumar (Department of English, Jat College, Rohtak, Haryana) |
Pages:93-96 Manjeet (Department of English, Adarsh Mahila Mahavidyalaya, Bhiwani, Haryana) Since its inception, Indian-English literature has been predominantly influenced by the cross-cultural interaction. This is primarily for two reasons: firstly, India being a colony of the British, directly received a great amount of Western influence; secondly, most of the Indo-Anglian writers have either spent a considerably long period in the West or settled there permanently. As such, they experience the tinge of two entirely different cultures and often find themselves torn apart between the cultures of the land they adopt as their new home and the land they have left behind. This diasporic experience imbues in them a potential to depict authentically in their works the inherent dilemma which forms the centre of this cross-cultural interaction. It further enables them to convey to the reader their responses and reactions to such a situation. All notable writers belonging to the first generation of Indian-English authors Sri Aurobindo, Sarojini Naidu, Toru Dutt, Rabinder Nath Tagore, Nirad C. Chaudhary, Mulk Raj Anand, R.K. Narayan, Raja Rao, Bhabani Bhattacharya etc. at one time or the other went to Europe and apart from getting some new insights in social, cultural and political fields, they reflected in their writings the poignant emotional experiences of the Indian Diaspora Pages:93-96
Manjeet (Department of English, Adarsh Mahila Mahavidyalaya, Bhiwani, Haryana) |
Pages:97-100 Sushil Chahar, J.K. Sharma and Manjeet Kumar (Department of English CMJ University, Shillong, Meghalaya, S.J.K. College Kalanaur, Rohtak, CR College of Education, Rohtak) There is a dearth of opportunities for Indian dramatists to subject their plays to the acid test of a living theatre in his own country. This has done harm to the Indian dramatists in English. Denied the discipline of the theatre, the early Indian dramatists in English-Tagore, Sri Aurobindo and T.P. Kailasam wrote plays which are essentially lyrical, allegorical and symbolic presenting an idealistic and philosophic view of life. As a result, the Indian drama in English has not shown a fresh and exciting life. It has not been able to free itself from the hangover of the Indian classical plays and the Western drama. But with the passage of time, some social and political movement gave the Indian drama in English a new lease of life. New dramatists in English like A.S.P Ayyar, Harindranath Chattopadhyaya, Fyzee Rahamin, and Lobo-Prabhu brought realism and satire to Indian drama in English with their social plays dealing with subjects like slum life, untouchability, widow marriage, dowry evil, exploitation of the poor by the capitalistic factory owners and conventional morality. Though quite a few of these plays are notable for their realistic situations, convincing characters and lively dialogue, they are not theatrically vital. Thus, enterprising Indian creative writers have, for nearly a century, occasionally attempted drama in English, but seldom for actual stage production. The only exception to this is Asif Currimbhoy whose plays make good theatre. His success as a playwright is closely related to the changing world of the last three decades. Currimbhoy is a prolific playwright. He has taken unusual themes from contemporary Indian society and woven them into plays of artistic excellence. Currimbhoy gathers his material mostly from a distinctly Indian experience and weaves various threads into it from the myths of yore as well as from the contemporary society. He has attempted almost every genre viz., comedy, tragedy, farce, melodrama, history and fantasy. But most of his plays are serious and he has no time for comedy in his plays excepting a few. Currimbhoy's Inquilab, The Refugee, and Sonar Bangla may be called the Bengal triology in as much as they concern themselves with Bengal and its problems at different points of time. Inquilab explores in depth the Naxalite revolt and is a non-partisan and honest account of the violent events that overtook Calcutta in 1970. It also touches upon the problem of the refugees. Dwelling on the exodus of ten million Bangladesh refugees to India in 1971, The Refugee shows the change in status between the refugees of 1947 and those of 1971. Sonar Bangla seeks to explore the problem of the refugees and the emergence of the nation of Bangladesh after the Indo-Pakistan war in 1971. Though the Bengal trilogy is essentially topical, each play is invested with a touch of universality of appeal. Inquilab reveals that the answer to the evil and hatred of the world is generosity of understanding and radiant love which Amar, the Naxalite, finds in his father and Suprea. Pages:97-100
Sushil Chahar, J.K. Sharma and Manjeet Kumar (Department of English CMJ University, Shillong, Meghalaya, S.J.K… |
Pages:101-103 Rekha and P. P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) Thomas Stearns “T.S.” Eliot (September 26, 1888 January 4, 1965) was a playwright, literary critic and arguably the most important English-language poet of the 20th century. Although he was born an American, he moved to the United Kingdom in 1914 (at age 25) and was naturalized as a British subject in 1927 at age 39. The poem that made his name, The Love Song of J. Alfred Prufrock started in 1910 and published in Chicago in 1915 is seen as a masterpiece of the Modernist movement, and was followed by some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday(1930), and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948. Pages:101-103
Rekha and P. P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:104 Kusum Sindhu and Sanjay Dangi (School of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan1, Govt. College Meham, Rohtak2) Feminism existed long before the term “feminism” come to be coined sometime in the twentieth century. Historically, the term “feminist” was first used in 1871 in a French medical text to describe a male patient whose male characteristics and stopped growing to their fullness, resulting in the “feminization” of his body. But today feminists are not men with stunted bodies but normal human beings both female and male, who have propagated and struggled for the rights of woman in a male dominated society. Feminism came in form of two waves in England and else where in the western world feminism. The first wave feminism refers to the feminist movements in the late nineteenth and early twentieth century. The second wave feminism came in the late 1960s and 1970s. By then the right to vote had already been earned by women. The latter-day feminists struggled for and achieved the right to work and earn and have power and independence at par with the male of the species. Pages:104
Kusum Sindhu and Sanjay Dangi (School of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan1, Govt… |
Pages:105-106 Rakhi and Shammi Nagpal (Department of English, Dravidian University, Kuppam, A.P.1, Department of English, D.N. College, Hisar2) Lawrence's religion of the blood, his insistence on the life of intuition and instinct, was mistaken by many as a plea for indiscriminate sex. Nothing is far from the truth. It is likely that many a reader may naively assume that Lawrence's novels present a tantalizing feast of erotica. The catchy titles may pull the reader in that direction : Sons and lovers, Women in love, Lady Chatterley's Lover, Love among the Haystacks and other stories. I have headed off Lawrence's discussion with his “Mystic” and deeply “religious” philosophy precisely to dispel any such notion in the mind of the reader. Hence sex is the central theme of Lawrence's novels. However, this theme expresses itself in Sons and Lovers as well as in superficially dissimilar work like The Rainbow Women in Love, Kangaroo and The Escaped Lock, as a search for tenderness between parent and child, friends of each sex, lovers, races, man and god, man and nature. This is surely much more profound, rich and serious than mere sex. Sex is not the focus of life just as the spirit is not. Life is a process embracing both. This is the balance Lawrence postulates in Fantasia of the Unconscious. Pages:105-106
Rakhi and Shammi Nagpal (Department of English, Dravidian University, Kuppam, A.P.1, Department of English, D.N… |
Pages:107-108 Seema Thakran and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) The Indian newspapers rubbed shoulders with the freedom fighters during the struggle for freedom. They demonstrated the role of the participant journalist all through the freedom struggle. They rebelled against the British rule, created public opinion and made deities out of the freedom fighters. The story of our freedom struggle is incomplete without a mention of the newspapers either published or patronized by the most prominent freedom fighters, Ram Mohan Roy with Sambad Kaumudi, Bal Gangadhar Tilak with Mahratta ,Gandhi with his Young India and Harijan, Motilal Nehru with Independent , Jawaharlal Nehru with National Herald and Dyal Singh Majithia with The Tribune. The aim of the Tribune was as its name imparts fairly and temperately to advance the cause of the mute masses.' The aim of the newspaper was to spread the doctrine of Indian nationalism and to bring about unity in a society that was afflicted by differences on questions of religion, caste, language and region. Nehru BK [1998]. It has been doing just that. Pages:107-108
Seema Thakran and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:109-114 Pirzada M. Amin (Department of Social Work University of Kashmir, Kashmir) There can be no dualism on the subject that Iqbal was the poet of Quran and like Quran Iqbal made man the centre of his philosophy or message. Man is the subject as well as object of kalami-Iqbal. It is the man himself and not his anatomy or physiology that concerns Iqbal. The picture of man as “biological machine “governed by Kantian philosophy of determinism was abhorred by Iqbal. He emphasized the spiritual aspect of man and in doing so he lifted man beyond physical, biological and psychological dimensions of cosmos. As per Iqbal man is an ambassador of Allah & is thus pertinently entitled to “khalifat ul arz”. Though chemical in composition, he is metaphysical by constitution. His outer simplicity conceals his inner complexity and his biology shadows his spirituality. Conquering the cosmic frontiers at one end, man fails to comprehend his own existence at other end. Addressing this conundrum of lack of comprehension of man Iqbal says: Pages:109-114
Pirzada M. Amin (Department of Social Work University of Kashmir, Kashmir) |
Pages:115-117 Monika Pahal and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) Robert Frost holds a unique and almost isolated position in American letters. "Though his career fully spans the modern period and though it is impossible to speak of him as anything other than a modern poet," writes James M. Cox, "it is difficult to place him in the main tradition of modern poetry." In a sense, Frost stands at the crossroads of nineteenth-century American poetry and modernism, for in his verse may be found the culmination of many nineteenth-century tendencies and traditions as well as parallels to the works of his twentieth-century contemporaries. Taking his symbols from the public domain, Frost developed, as many critics note, an original, modern idiom and a sense of directness and economy that reflect the imagism of Ezra Pound and Amy Lowell. On the other hand, as Leonard Unger and William Van O'Connor point out in Poems for Study, "Frost's poetry, unlike that of such contemporaries as Eliot, Stevens, and the later Yeats, shows no marked departure from the poetic practices of the nineteenth century." Although he avoids traditional verse forms and only uses rhyme erratically, Frost is not an innovator and his technique is never experimental. Pages:115-117
Monika Pahal and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:118-119 Rashmi Ahlawat (Department of English, Manav Bharti University, Solan, H.P.) Shobha De's novels present a totally new concept of morality. She elaborately dwells upon the much covertly discussed theme of sex in her novels. She presents woman who defy social convention and choose to lead their lives on their own terms. But in a country like India, women however educated they may be have to act keeping in mind that they are bound by traditional values and social acceptability. De's women are totally different; they represent a small but significant section of Indian society which is gradually changing its outlook with the changing times. They are women who seek equal rights with men. They don't want to be placed second to men. They seek friendship with men who can give them unending supply of luxury, money and comfort. These women marry for convenience and their living singly does not worry them. They engage themselves in glamorous and challenging careers like modeling, acting, journalism, designing, advertising and even big business. To the common conservative middle-class Indian, this sort of highflying life-style is very unwelcome and not in keeping with womanly behaviour too modern and sophisticated, westernized and, above all, characterless. The protagonists of De's novels exhibit this trait in their character. Identity is concerned with the self-image of an individual, a gender, a community, a class, a race or sex or a nation-real or imaginary dealing with the existence and role, What position do we attain in society? What are we? And who are we? So far as sex and gender identities are concerned, these are the quest for equality and dignity for their process and development. As mentioned in Manusmiriti, it is believed that Indian woman in general have no identity of their own. They belong to their father before they are married and to their husband after they are married and in the old age they have to depend on their sons. However, urban and educated city dwelling Indian women, immigrants and expatriates are claiming their rights within their family and beyond it. They are attempting to establish a new identity with their changing gender roles. We are in the last decade of twenty first century progressing on to the twenty second century. We witness the rapid changes in the social, cultural and moral norms of the society. The writers of the post-independence fiction have focused on contemporary problems. They have explored the vital areas of individual consciousness and have projected the fascinating images of cultural change, rather transformation. Karuna in Socialite Evenings hails from a conservative middle class family and plunges in the circle of Mumbai high society after her bureaucrat father's posting in this glittering city. She leaves her middle class values and moral standards and embraces the high life of the rich upper class. Her modeling career which she opts for much against her father's wishes is the first step she takes to become a part of the glamour world. Pages:118-119
Rashmi Ahlawat (Department of English, Manav Bharti University, Solan, H.P.) |
Pages:120-122 Poonam and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) Mulk Raj Anand (1905-2004) is one of the greatest novelists in Indian Writing in English. He is also attributed to constitute the much talked about and referred to 'trio' in Indian Writing in English, the other two being R.K. Narayan and Raja Rao. Indian literature including that in English indulged before the advent of Munshi Premchand (in Hindi) and the trio in Indian Writing in English in mere imagination. Hence, India was looked upon as being a land of forests, jugglers and snakes by Europeans. Indian literature prior to these litterateurs pre-occupied, in history and romance only. It was way too far removed from reality and the people living in the Indian society. The trio endeavoured to eradicate Indian literature in English from being called literature of fairy tales and fantasy. R.K. Narayan, Raja Rao, Tagore tried, through literature, to voice the suffering and coercion against the Indian subject in the British Raj, trying thus to bring a tinge of realism to the literature. But, be it as it may, Mulk Raj Anand was a little different from them. He was profoundly influenced by Gandhiji, his ethics and his way of life. One thing remains to be seen that there is a decided difference of view between R.K. Narayan and Mulk Raj Anand. Pages:120-122
Poonam and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:123-125 Rajesh Sagu and Vijay Bhushan Jha (Department of English, Draviadian University, Kuupam, A.P.) Women must be put in a position to solve their problems in their own way. No one can or ought to do this for them. Our Indian women are capable of doing it as any in the world. - Swami Vivekananda Indian fiction in English has a formidable pool of women novelists. The deeper most concerns of these novelists have been the human relationships, especially the functioning of female psyche .Shashi Deshpande is one of the most prominent voices to deal with such concerns. Shashi Deshpande's The Dark Hold No Terrors is a remarkable piece of literary work in this regard. The novel was first published in1980; by author admittance is “the one dear to her”. Due to popularity of the novel, it has been translated in to German and Russian. Pages:123-125
Rajesh Sagu and Vijay Bhushan Jha (Department of English, Draviadian University, Kuupam, A.P.) |
Pages:126-127 Suman and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) Mary Ann Evans born in Warwickshire in 1819 published all her work under the pen name 'George Eliot' because of the prevailing attitudes to women during her lifetime. Her third novel “The Mill on the Floss” was written in the years of 1859 and 1860. Although the plot is set in 1829, the work displays the attitudes of the Victorian era in which the author lived. When the novel appeared, at the beginning of April, it gained instant popularity and sustained or increased George Eliot's reputation with the most thoughtful readers. In respect to the protagonist Maggie Tulliver, it is a highly interesting book: George Eliot has taken herself for a heroine so that the first two volumes come close to a spiritual autobiography. The story of a close relationship between brother and sister from childhood through adolescence mirrors the similar childhood relationship between Eliot and her own brother. The scenery also represents parts of the environment of her own childhood. Maggie Tulliver nine years old when the novel begins and 19 when she dies in the last chapter of the novel is a very complex and interesting character, who offers much potential for detailed analysis. She is not the ordinary “Victorian girl” and does not represent the image of the “angel in the house” but differs in many ways. What are the main conflicts Maggie has to deal with in childhood and what impact do they have on her reactions and choices in later life? Could Maggie's fate have been avoided or was a “life in disgrace” the only option she had? Pages:126-127
Suman and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:128-129 Sangeeta (Department of English, Mahila Mahavidyalaya, Jhojhu Kalan, Bhiwani) Indian poetry in English is as old as Henery Derozio ( 1807-1831). There is an impressive list of poets who wrote during the 19th and the first half of the 20th century. Michael Madhusudan Dutt (1824-1873), Toru Dutt (1856-1924), Manmohan Ghose (1867-1924), Sri Aurobindo (1872-1924), Rabindernath Tagore (1861-1941), Sarojini Naidu (1879-1949) Harindranath Chattopadhyaya (1898) and many others. It is an indisputable fact that each of the successful poets among them cultivated a proficiency in English language and that the output of most among them was prolific. Pages:128-129
Sangeeta (Department of English, Mahila Mahavidyalaya, Jhojhu Kalan, Bhiwani) |
Pages:130-135 Reena Grewal and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) The most significant psychoanalytically inspired assessments of Rabindranath Tagore's works, or of his life and works, have come from Rangin Haldar (1924, 1928, 1931), Sarasi Lal Sarkar (1926, 1927, 1928, 1937, 1941), Amal Shankar Roy (1973) and Sitansu Ray (1979, 1996). Although Roy and Ray have cited a few arbitrarily chosen remarks by Tagore on psychoanalysis in their respective works, it is fair to say that these scholars have not seriously attempted to unravel any part of Tagore's own notion of Freudian thought. Ratul Bandyopadhyay's book on Tagore (1994) on the other hand, which contains excerpts from several letters and articles by Tagore and others on psychoanalysis in one of its chapters, accounts for only one relatively less important strand of a larger story. In this article, which is archival rather than analytical in nature, I shall seek to narrate that untold story as closely and clearly as possible. Pages:130-135
Reena Grewal and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:138-140 Poonam and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) Postcolonial criticism bears witness to the unequal and uneven forces of cultural representation involved in the contest for political and social authority within the modern world order. The term colonialism defines the specific, economically based and racially entrenched cultural exploitation that developed as Europe expanded over 400 years. While it does not depend on a central imperial power, one of colonialism's main aims is to colonize, settle, take over and change forever the ways of local and indigenous people. The present paper is an attempt to apply post-colonial approach in Mulk Raj Anand's Untouchable and Two Leaves and a Bud. Pages:138-140
Poonam and P.P. Khatri (Department of English, Singhania University, Pacheri Bari, Jhunjhunu, Rajasthan) |
Pages:141-148 Adfar Rashid Shah (Department of Social Sciences, Jamia Millia Islamia University, New Delhi) Love -A Philosophical Dimension Love conquers the space less infinite, it is passing out of this world without being hampered by death (1932: 17). Based on the principles of logical positivism science and philosophy in some of its extended forms abhors appreciating anything that lies beyond the dimensions of space and time, the prime features of quantification. One of the dismal prospects emerging out from recent trends in normative sciences is the skeptical attitude towards transcendental affairs of existence. There has occurred an intellectual paradigm shift in perceptions and the attributes like reasoning, logic and analysis have given place to higher vales like love, intuition and contemplation. Otherwise the role of love in metaphysical and spiritual realms is analogous to the role of “forces” in the physical world, the role of numbers in mathematical world and the role of mind in psychological world. Except the former is transcendental, infinite, incomprehensible and incommensurable while the later is tangible, finite and materialistic in nature. Despite, this entire cynical and biased attitude towards “unquantifiable entity” like love, the deeper probes into the cosmic landscape have once again revitalized this concept, though in a different manner. The collapse of classical scheme at microcosm and the subsequent success of Quantum and relativistic mechanics have revealed to us, some of the veiled realities that form the very basis of whole of existence. One of these fundamental realities (that strengthens the role of love in substantiating the universe) has come from the quarter of “particle physics” and that revelation is the existence of sub-atomic particles in two distinct but similar forms, one of them is conventionally termed as “matter” and the other form as “anti-matter”. These antiparticles have an inherent intense attraction (Love) for each other. To quote Fritjof Capra: Pages:141-148
Adfar Rashid Shah (Department of Social Sciences, Jamia Millia Islamia University, New Delhi) |
Pages:149-150 Neelam Rani (JND Khalsa Girls College, Bhatinda, Punjab) स्वतन्त्रता प्राप्ति के बाद भारत की नारी विविध क्षेत्रों में घर से बाहर आई है । नौकरी पेशा नारी ने विभिन्न क्षेत्रों शैक्षणिक, आर्थिक, राजनैतिक आदि में काम किया है। इसमें आॅफिस, काॅलेज, फैक्टरी, व्यवसाय विभिन्न क्षेत्रों में संबंधो का नया रुप सामने आया है । मतलब यहाँ स्त्री न प्रेमिका है ना पत्नी सिर्फ मित्र है । आर्थिक स्वावलंबन ने नारी को आत्म-निर्भर बनाया है । इससे नारी ने एक ओर यह भी अनुभव किया कि वह परिवार से अलग होकर भी जीवन व्यतीत कर सकती है दूसरी ओर आर्थिक रुप से स्वतन्त्र होने पर भी उसे सामाजिक रुढ़ियो से पूर्ण रुप में स्वतन्त्रता नही मिली है इसलिए वह परम्परागत संस्कार एवं वर्तमान स्थिति के बीच उलझ रही है । इस प्रकार नारी के व्यक्तित्व में आए बदलाव को लेखिका ने अनेक कामकाजी पात्रों की सृष्टि के द्वारा उजागर किया है । Pages:149-150
Neelam Rani (JND Khalsa Girls College, Bhatinda, Punjab) |
Pages:151-152 Neelam Rani (JND Khalsa Girls College, Bhatinda, Punjab) स्वतन्त्रता प्राप्ति के बाद भारत की नारी विविध क्षेत्रों में घर से बाहर आई है । नौकरी पेशा नारी ने विभिन्न क्षेत्रों शैक्षणिक, आर्थिक, राजनैतिक आदि में काम किया है। इसमें आॅफिस, काॅलेज, फैक्टरी, व्यवसाय विभिन्न क्षेत्रों में संबंधो का नया रुप सामने आया है । मतलब यहाँ स्त्री न प्रेमिका है ना पत्नी सिर्फ मित्र है । आर्थिक स्वावलंबन ने नारी को आत्म-निर्भर बनाया है । इससे नारी ने एक ओर यह भी अनुभव किया कि वह परिवार से अलग होकर भी जीवन व्यतीत कर सकती है दूसरी ओर आर्थिक रुप से स्वतन्त्र होने पर भी उसे सामाजिक रुढ़ियो से पूर्ण रुप में स्वतन्त्रता नही मिली है इसलिए वह परम्परागत संस्कार एवं वर्तमान स्थिति के बीच उलझ रही है । इस प्रकार नारी के व्यक्तित्व में आए बदलाव को लेखिका ने अनेक कामकाजी पात्रों की सृष्टि के द्वारा उजागर किया है । Pages:151-152
Neelam Rani (JND Khalsa Girls College, Bhatinda, Punjab) |
Pages:153-155 रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) डाॅ. लक्ष्मीनारायण लाल नाटक की भाशा के विभिन्न आयामों को उजागर करने में सिद्धहस्त हैं। उन्होंने हिंदी नाटक को नवीन सर्जनात्मक उपलब्धियों से परिचित करवाकर एक नूतन नाट्य-धारा का प्रवर्तन किया, जिसमें वे गीत के माध्यम से यथार्थवादी भाशिक चेतना का आरम्भ करते हैं। नाटक में गीत-निर्माण की परम्परा आति प्रयोग रही है तथा डाॅ. लाल ने भी इस परम्परा का निर्वाह सफलता पूर्वक किया है। इस काल के रचनात्मक धरात का अध्ययन करने पर यह स्वीकार करना पड़ता है कि हिंदी नाटक में गीत का उन्मेश 1950 के आस-पास प्रारम्भ हो चुका था। इस गीत योजना के कारण अखिल भारतीय रंग चेतना का प्रचार हुआ। स्वतंत्रता के पश्चात् अन्तर्राश्ट्रीय स्तर पर सांस्कृतिक आदान-प्रदान की महती आवश्यकता अनुभूत करते हुए नाटक में गीत के समावेश की आवश्यकता महसूस की गई। इस कारण से तत्कालीन हिंदी नाटकों में गीत-संगीत के क्षेत्र में उठने वाला यह आलोड़न वस्तुतः वर्तमान प्रयोगधर्मी नाटक की यात्रा का ही एक सबल पक्ष अभिव्यंजित करता है। नाटक में संवाद की सबसे महत्वपूर्ण भूमिका होती है। यह संवाद गीत के माध्यम से अभिव्यक्त किया गया हो, तो यह प्रेक्षकों पर अधिक प्रभाव डालने में सक्षम बन जाता है। डाॅ. लक्ष्मी नारायण लाल ने इस धारणा को ग्रहित कर अपने नाटकों मेें गीतों का अधिक से अधिक समावेश किया है। Pages:153-155
रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) |
Pages:153-154 Narender Kumar1, Kum. Sheela Malik2 (Pt. N.R.S. Govt. College, Rohtak1, CMJ University, Shillong , Meghalaya2) In all his dozen novels and most of the short stories, R.K. Narayan's chief concern is human relationship, specially the relationship of the members of an Indian family were grandfathers, grandmothers, granduncles, parents, uncles, aunts, brothers, sisters, daughters and sons live in the same house. In this connection, William Walsh observes: The family, indeed, is the immediate context in which the novelist's sensibility operates. And his novels are remarkable for the subtlety and conviction with which family relationships are treated that of son and parents, brother and brother in The Bachelor of Arts. Of husband and wife and father and daughter in The English Teacher, of father and son in The Financial Expert, of grandmother and grandson in Waiting for the Mahatma, father and estranged son in The Vendor of Sweets. Pages:153-154
Narender Kumar1, Kum. Sheela Malik2 (Pt. N.R.S. Govt. College, Rohtak1, CMJ University, Shillong , Meghalaya2)
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Pages:155-157 Poonam Kharb1, Sudhir Narayan Singh2 (Research Scholar, Singhania University Pacheri Bari1, Associate Professor, Department of English, TITS Bhiwani2) Indian fiction in English has been deepened by several highly talented women novelists including Kamla Markandaya, Anita Desai, Shashi Deshpande and Manju Kapur etc. They have written of Indian women, their conflicts and predicaments against the background of contemporary India. Manju Kapur is a professor of English at Miranda House in Delhi. Having done her graduation from Miranda House, Manju did her MA in English from Dalhousie University in Canada and sis her M. Phil. from Delhi University. She is married to Gun Nidhi Dalmia and lives in New Delhi. Her first novel, Difficult Daughters, received the Commonwealth Award for the Eurasian region. With several books to her credit, Manju is, these days, busy "struggling with a novel based in both India and Canada, tentatively called The Immigrant. It is about an NRI marriage." Happy that women's writing has come of age in India, she says, "Women have a lot of things to say. But, unfortunately not much is given to them. However, there is a lot of interest in what women have to say - and many, specially the regional women writers, write under tremendous personal pressure. Pages:155-157
Poonam Kharb1, Sudhir Narayan Singh2 (Research Scholar, Singhania University Pacheri Bari1, Associate Professor, Department of… |
Pages:158-159 Jaiveer Singh1, Sudhir Narayan Singh2 (Research Scholor, Singhania University, Singhania 1, Department of English, TITS, Bhiwani 2) The word history is defined as a 'continuous record of events (esp. public)' and also alternatively as a 'systematic or critical account of or research into past events.' Explicitly, it is a record of facts which has become known to the writer from his personal experience and observation; and then it is extended so as to include facts communicated to him by trustworthy and creditable witnesses. History, till recently, believed in the invincibility of facts, which were supposed to be sacred and historians pledged by their scientific objectivity and the empiricism. J.B. Bury in 1903 described: Pages:158-159
Jaiveer Singh1, Sudhir Narayan Singh2 (Research Scholor, Singhania University, Singhania 1, Department of English, TITS… |
Pages:160-161 Kum. Sheela Malik1 and Narender Kumar2 (CMJ University, Shillong, Meghalaya1, Pt.N.R.S.Govt College, Rohtak2 This research in an attempt to study the various aspects of conrad's writings which make his vision existential. Iwe) have been taken heart of Darkness in this study. Canrad has projected the phenomenon of psychic decomposition in the presentation of his vision in these novels. An attempt has also been made here to analyse Conrad's perception of the human predicament in the universe and also the existential dimensions of his vision of life. Conrad's life and works are inseparable Conrad's life and works are inseparable Conrad's “powerful personality” was “a personality at once simple and complex.” Heart of Darkness is a novel which clearly show the influence of psychology and psychiatry which were emerging as full fledged sciences at the time when this novel was written. Heart of Darkness embodies Marlow's existential consciousness in searching for Kurtz. Its characterization of Kurtz and Marrow's it reaches a philosophical level which reveals a truth about human existence like many of his heroes, he was lonely and was seeking independence. Henry James Marlow, is the narrator reminiscing about his adventures in the Congo as a boat captain, he also remember the terrible treatment of the native people by self-seeking company agent, Mr. Kurtz. The primitive culture of central Africa offers Kurtz a kind of release from the moral restraints of the civilized world as a result he has follow his own “ego-ideal” to realize himself. Douglas Brown observes in him a kind of “maniacal assertion of the self against traditional morality integrity in human dealing and low”1 Kurtz like Camus's Clamence in The Fall claims that every things belong to him Marlow describes the attitude of Kurtz “my ivory, oh yes I heard him, my intended my ivory, my station, my rivers, my everything belonged to him.” This the stage when he realizes the all absorbing power of self-the all absorbing power of self- the self of man god or a superman: he lives in the continuity of “I, I, I”. So does Kurtz live in the perpetual self transcendence of “my, my, my” . But Kurtz's claims that every things belongs to him is a mere 'trifle'; he is ignorant that he himself has been claimed by the God forsaken wilderness', with this kind of self assertion Kurtz zealously dedicated himself to him mission like a 'for itself' and attains glory- the position of 'man-God' a messiah of progress and civilization in the eyes of the natives. We are never total the secret of Kurtz's degradation or the nature the 'Abominable satisfactions' which he has been enjoying. Mr. Kurtz has become part of the darkness of the conge. Having lived in the heart of Darkness, Mr Kurtz has become a dark, sinister person who would eventually be claimed of the powers of darkness. It is the conversion of Mr. Kurtz from a civilized and “enlightened man into a superstitious and brutal individual”, which tends emphasis to the literal darkness of the Congo2. Pages:160-161
Kum. Sheela Malik1 and Narender Kumar2 (CMJ University, Shillong, Meghalaya1, Pt.N.R.S.Govt College, Rohtak2 |
Pages:162-163 Jaiveer Singh1, Sudhir Narayan Singh2 (Research Scholor, Singhania University, Singhania,1 Department of English, TITS, Bhiwani2) Such subversion is possible by disregarding the assumptions of 'purity and 'unity' and by problematising the assumptions of western traditions of fiction and historiography. It is the third position of which is by participating in an ancient Indian tradition of re-writing the epics. These writers have used different forms to re-write these 'histories.' So, when Raja Rao re-writes a sthalapurana in Kanthapura or Shashi Tharoor the Mahabharata in The Great Indian Novel or Allan Sealy the history of Anglo-Indians in trotternama-the Novelist thus participates in a tradition of re-writing history which is neither 'Against History' nor an act of 'Dis/Mantling narrative as claimed by Tiffin. Pages:162-163
Jaiveer Singh1, Sudhir Narayan Singh2 (Research Scholor, Singhania University, Singhania,1 Department of English, TITS, Bhiwani2) |
Pages:164-165 Poonam Kharb (Research Scholor, Singhania University, Pacheri Bari, Rajasthan) In this modern era, Post feminism in India is a myth or reality is a question of debate. Many Indian women novelists try to solve this quest in their own ways. The modern women poetess writing in English is a research based study which is significant for voicing their minds with great courage and boldness. The dominant theme of this span is man-woman relationship especially for their quest for identity and space in patriarchal set up of society with the advent of new century a noticeable change can see in the preoccupations of new Indian women poets. These poetesses are aloof from their polemics of sexes. They come-up with newer insight to perpetuate man-woman relationship their mutual understanding and harmony between acceptance and appreciation of differences and individualists. Hence this post-phase of feminism and new parts both find place in the present study. Pages:164-165
Poonam Kharb (Research Scholor, Singhania University, Pacheri Bari, Rajasthan) |
Pages:166-167 Vinod Kumar (Research Scholar, Singhainia University, Pacheri Beri, Jhunjhnu) Sometimes man makes more sense to man when he looks like an animal-or another man, or a woman, or just anything other than himself. The human being is the strangest of all animals, because of the phenomenon called thought. Reaching beyond our personal capsule of life might make us completely free. Such is the manic truth, the reflection of himself, that D.H. Lawrence thrusts forward in the collections of essays entitled "Phoenix" and "Phoenix II." The processes of his mind invite inquiry. To Lawrence, conversation with a person is seldom the best way to know that person. Rather, we come to know a person more fully by a process of reading him-absorbing the subtleties of his life, and extrapola-ting these into a portrait of his mind. In his writing, Lawrence grants the opportunity for us to read him, in the very literal way, so that we might come to know his own mind more fully. Pages:166-167
Vinod Kumar (Research Scholar, Singhainia University, Pacheri Beri, Jhunjhnu) |
Pages:168-170 Sunita Chahal (Department of English, I.G.N College, Ladwa, Haryana) Ngugi wa Thiong'o (b.1938), whose work includes novels, plays, short stories and essays, ranging from literary and social criticism to children's literature, is a Kenyan author, formerly working in English and now working in Gikuyu. Ngugi's literary beginnings are marked by the reality of decolonization in his writings he has brought an inevitable end of the narrative of colonization that has dominated African writing for at least two centuries: “my writing was an attempt to understand myself and history, to make sense of the apparently irrational forces of the colonial and postcolonial. My experience of Kenya had been as white settler colony into which I was born. Everything had been in terms of black and white. White was wealth and power. Black was poverty and subjection to another. But certain happenings, even in colonial Kenya, were beginning to challenge that neat demarcation and I had no vocabulary by which to understand and name what I was seeing and feeling” (Globalectics, 17). Colonialism was no longer the central facet of African life when Ngugi started writing his novels. On the contrary, the narrative of independence dominated the context in which his novels are produced, the emergence of new nations in which, it is hoped autonomy and freedom would be instituted on the African continent in general and Kenya in particular. Ngugi's postcolonial identity explains both his relation to-and difference from-the pioneering generation of African writers. Like Achebe and the first generation of modern African writers, Ngugi is interested in a fairly coherent set of questions and ideasthe process of colonization and its effect on African cultures and African selves; the efficacy and limit of old tradition in the constitution of new African identities; and the imperative of decolonization. Ngugi's novels face the difficult question raised by the English tradition he has inherited through his colonial education: could a literature committed to decolonization be produced in English and other European languages and their literary traditions? Although Ngugi is now famous for his break with English in his novel writing career, his position on the question of language and literary tradition is evident in the argument that African writers had no choice but to use the European language; “We were guided by it and the only question which preoccupied us was how best to make the borrowed tongues carry the weight of our African experience by, for instance, making them 'prey' on African proverbs and other peculiarities of African speech and folklore” (Decolonising,7). Ngugi is a product of three powerful cultural institutions whose appeal and influence is to outlive official colonialism: the Christian missions, the colonial school and university, and the European literary canon. Ngugi's relationship to these institutions and the process of colonization is marked by a subtle distinction which reveals the universal story of colonization and decolonization in Africa. Pages:168-170
Sunita Chahal (Department of English, I.G.N College, Ladwa, Haryana) |
Pages:171 Narender Pal Singh (CMJ University, Shillong, Megalaya) Mohandas Karamchand Gandhi, Hindu reformer and nationalist leader, was looked upon as a saint by millions of his followers, who bestowed upon him the admiring appellation of "Mahatma," literally "the great-souled one." As was perhaps inevitable in the case of one who was the center of violent controversies for more than half a century, there were others who had very different views about the Indian leader, even contending that he was no better than a scheming demagogue. Pages:171
Narender Pal Singh (CMJ University, Shillong, Megalaya) |
Pages:172-173 Vinod Kumar (Research Scholar, Singhainia University, Pacheri Beri, Jhunjhnu) Throughout the novel, we gain a good understanding of what the character of Walter Morel is like, in certain parts, we can 100% empathise with Gertrude and understand her struggle and strife, yet there are moments in the text, when I for one, see Walter is the vulnerable, mis-understood character he really is. I believe he is the one, not Gertrude, who deserves the readers sympathy. We know Walter to be an alcoholic, and in all honesty a pretty poor father, however, we (well,I) can also see why he has become like this. Gertrude has a massive impact on Walters character, as throughout the novel, he becomes pushed further and further from his children, to the point where he is “hated” by them and “despised” by his wife. Pages:172-173
Vinod Kumar (Research Scholar, Singhainia University, Pacheri Beri, Jhunjhnu) |
Pages:174-175 Narender Pal Singh (CMJ University, Shillong, Megalaya) During the period when Gandhi's freedom movement acquired its mass base, he again and again defined and explained the concept of Swaraj as the goal of freedom struggle, in terms of political, economic, social and moral rights of the downtrodden and exploited Indian masses. While still in South Africa, in 1909 itself he had expressed his basic idea of Swaraj in his very first Book, 'Hind Swaraj' or Indian Home Rule. Following are the some of the thoughts expressed in the book, which define his concept of Swaraj: Pages:174-175
Narender Pal Singh (CMJ University, Shillong, Megalaya) |
Pages:176-177 Manjeet (Department of English, Adarsh Mahila Mahavidyalya, Bhiwani) C.Rajgopalachari and many other have all effectively interpreted 0ne of the greatest epic poem of all the time, The Mahabharata. There was also several other versions of this epic, each with its own elucidation and there have continued to enthrall generations of readers of all ages alike. The original is said to have been narrated by Sage Vyasa and hand written by none other than the beloved lord Ganesha himself. The basic plot very simply is the story of the five Pandava brothers who go up against their 100 Kaurava cousins to win back their kingdom of Hastinapur, with the divine intervention of one of the popular reincarnations of Lord Vishnu, Krishna. Along the way Lord Krishna recites the 700- verse Bhagavad Gita which is often described as “a concise guide to Hindu Philosophy”. Pages:176-177
Manjeet (Department of English, Adarsh Mahila Mahavidyalya, Bhiwani) |
Pages:178-185 Ashish Sangwan (Independent Research Scholar, Rohtak) The Moor's Last Sigh shares the basic structure of Rushdie's immensely successful novel Midnight's Children, though there is a significant difference, the first person narrator of Midnight's Children Saleem represents India, but the Moor embodies the minorities of the nation. Apparently the novel offers a discourse about art and culture but it gradually unfolds into a comprehensive philosophy of various challenges haunting the nation. Like Midnight's Children and Shame, The Moor's Last Sigh is a novel with large ambitions composed on a grand scale. The 'genesis' of the novel is set in Cochin and the 'apocalypse' part of about last fifty pages is set in the doomed Bombay and Spain. The body of the work tells the story of the life of Moraes “ the Moor” in Bombay. It is a tale of the fall from grace of the da Gama-Zogoiby family and their quest for finding a flavour in the boiling cauldron of the Indian cultural curry. This quest helps the reader realize the beauty of the irrecoverable purity, and therefore kaleidoscopically rich composite culture of India. Pages:178-185
Ashish Sangwan (Independent Research Scholar, Rohtak) |
Pages:186-187 Babita (CMJ University, Shillong, Meghalaya) प्रकृति के साथ कला का अंतरंग सम्बंध जगजाहिर है। प्रकृति से प्रभावित हुए बिना कोई भी संवेदनशील कलाकार अपनी कला-कृति को उत्कृष्ट नहीं बना पाता। कलाकार प्रकृति का अनुकरण करता है। उसके सौंदर्य और प्रतिपल बदलते स्वरूप का सूक्ष्मातिसूक्ष्म निरीक्षण करता है और इस क्रम में उसके मन को प्रकृति का जो दृश्य विमाहित करता है उसे वह अपनी कलाकृतियों के माध्यम से अभिव्यक्त करने की कोशिश करता है। इसलिए कला के समस्त प्रकारों में प्रकृति के विविध रंगों की चटक, मनोहारी दृश्यों की छाप और प्रभाव घुले-मिले हैं। आचार्य जी की कथा-कृतियों में प्रकृति के विविध दृश्यों के रूपांकण का मूल स्रोत उनका गाँव और आवासीय परिसर भी है। आचार्य जी को प्रकृति से बेहद लगाव तो है ही, उसकी श्रीवृद्धि के लिए अनुकूल स्थितियों में वे खुद वृक्षारोपण का प्रयत्न भी करते रहे हैं। वे जहाँ भी रहे, इसके लिए सतत प्रयत्नशील रहे। उर्वर भूमि की उपलब्धता नहीं रहने पर भी बंजर को हरा-भरा उपवन का रूप देने में उनकी सफलता निर्विवाद रही है। इसलिए उनका अधिवास गाँव रहा हो या प्रवास शहर रहा हो, वे प्रकृति के बीच साँस लेने में ही शुकून महसूस करते हैं। प्रकृति उनका प्राण है, वे उसके सच्चे गुणग्राहक रहे हैं, इसलिए उनकी कहानियों में प्रकृति की उपस्थिति देह में प्राण की तरह है। Pages:186-187
Babita (CMJ University, Shillong, Meghalaya) |
Pages:188-189 रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) डाॅ. लक्ष्मी नारायण लाल द्वारा रचित नाट्य साहित्य में ’मादा-कैक्टस का प्रमुख स्थान है। इस नाटक का सर्वप्रथम मंचन 6 नवम्बर, 1956 को आका शवाणी रंगशाला इलाहाबाद के तत्वाधान में आफिसर्स ट्रेनिंग स्कूल के मंच पर स्वयं लेखक के निर्देशन में किया गया था। आलोच्य नाटक में प्रतीकों की प्रमुख विद्यमान है। इन प्रतीकों के विशय में स्वयं लेखक ने मादा कैक्टस की भूमिका में स्पश्ट किया है कि ’’ बात टेढी थी, इसलिए इसमें प्रतीकों का सहारा लेना पड़ा। संगीत से लेकर कार्य तक, घटनाओं से पात्रों तक, नीलाम के बाजे से अनाथालय के बच्चों के गीत तक, मादा कैक्टस से मुर्गाबी चिड़िया तक। आप कह सकते हैं कि अजी, इतने प्रतीक है! प्रतीक की भाशा कौन समझे?पर मैं कहता हॅंू प्रतीक की अपनी कोई अलग भाशा नहीं होती, प्रतीक को स्वयं नाटक की प्रकृत भाशा और सहज बोली है- ऐसी भाशा जो हम नित्य प्रति के जीवन में बोलते हैं। चेतन अचेतन रूप में जिन्हें हम सम्प्रेशणीयता और बोध तत्व के माध्यम बनाते हैं। इस तरह में प्रतीक हमारी अभिव्यक्ति के जीवन आधार हैं। अतः हमारे व्यक्तित्व के अंग हैं, जैसे स्वप्न अंग हैं और नाटक में प्रतीक का धर्म केवल यह है कि वह समवेध बात को, तत्य को, शब्दों की अपेक्षा कहीं अधिक सीधे और शक्तिशाली दंग तथा सुंदर रूप से Pages:188-189
रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) |
Pages:190-191 अजय सिंह (सिंघानिया विश्वविद्यालय झुन्झुनू) स्वर्गीय चैघरी चरण सिंह एक साधारण परिवार में पैदा हुए थो और लोक हितेशी अपने कामों एवं उत्कट देशभक्त के बल पर, भारत के प्रधानमंत्री के आसन पर पहुंच गये थे। यहाँ तक पहुचने का उनका उद्देश्य, देश के संसदीय लोकतन्त्र को मजबूत करना, आंतकवाद के दानव को निश्प्राण बनाना, प्रशासन तंत्र में गहरीर जडे जमाये बैठे भ्रश्टाचार को मिटाना, गांव और शहर की आर्थिक, शैक्षिक और सांस्कृतिक प्रगती का, समान स्तर पर विकास करना, वर्ग तथा जाति आधारित समाज को वर्गीय तथा जातीय संकीर्णता से मुक्त बनाना, देश की आर्थिक पर-निर्भरता को दूर करना, भारतीयों में राश्ट्रीयता के भाव भरना और उनमें प्राचीन सांस्कृतिक विरासत में की जा सकती है, जिन्होने इस पृथ्वी पर रहने वाले समस्त प्रणियों को समृद्ध, सुखी और सबल बनाने के स्वप्न देखे हैं। हमारे सामाजिक तथा राजनीतिक जीवन में, इस प्रकार के स्वप्न देखने वाले अनेक लोग पैदा हुए हैं, लेकिन उनमें से अधिकांश केवल स्वप्न देखने वाले ही थे।, अपने स्वप्नों को मूर्त रूप देने वाले वे नहीं थे। चैधरी साहब, ऐसे लोगों से इस अर्थ में अलग थे कि उनमें अपने विचार तथा भावों को साकार रूप प्रदान करने की जबरदस्त इच्छाशक्ति तथा ताकत थी। वह उच्च-कोटी के उदात्त विचारक होते हुए भी कर्मठ इंसान थे और भावुक तथा अति संवेदनशील होते हुए भी भ्रश्टाचारियों को दण्डित करने में नितांत कठोर थे। Pages:190-191
अजय सिंह (सिंघानिया विश्वविद्यालय झुन्झुनू) |
Pages:192-193 Babita (CMJ University, Shillong, Meghalaya) ‘नार्यस्तु यत्र पूज्यते, रमन्ते तत्र देवताः’ की मनुस्मृति-दृष्टि का विलोपन कब और कैसे हुआ, यह शोध का विषय है। वेदकालीन नारी को परिवार और समाज में जो सम्मान, प्रतिष्ठा और अधिकार प्राप्त थे, उनमें क्रमशः बढ़ती पुरुष-वर्चस्विता के कारण धीर-धीरे कमी आती गई, कटौती होती चली गई। फलस्वरूप नारी की सामाजिक स्थिति हेय बनती चली गई। एक समय ऐसा भी आया कि वह पुरुष के पैरों की जूूती बनकर रह गई। पुरुषों की सत्ता ने उसे गुलामी की जंजीरों में जकड़ दिया। नारी-मन, उसकी आकांक्षाएँ, संवेदनशीलता की परवाह किए बिना उसके कायिक सौंदर्य की प्राप्ति और दैहिक उपभोग की मंशा की पूर्ति के लिए न जाने कितने युद्ध हुए, कितनी हिंसा हुई। पराजित राजा को राज्य से वंचित होना पड़ा या फिर जान से हाथ धोना पड़ा, लेकिन नारियों को जीते-जी अग्नि-समाधि लेनी पड़ी और जो ऐसा नहीं कर पाई, उन्हें खलनायकों के आगे जबरन समर्पण करना पड़ा और आजीवन मौन सिसकियों का आश्रय ग्रहण करने के लिए विवश होना पड़ा। रामायण-काल से महाभारत-काल तक, मुस्लिम-शासन से लेकर फिरंगी-काल तक और अब स्वातंत्र्योत्तर भारत का समाज भी नारी के लिए साँसत-काल है। तथाकथित सामंती व्यवस्था के उन्मूलन और लोकशाही व्यवस्था की स्थापना के बावजूद नारी-उत्पीड़न की खबरें समाचार-पत्रों और विविध संचार-माध्यमों के जरिए प्रमुखता के साथ प्रकाशित-प्रसारित हो रही हैं। भारतीय-समाज के जाने कितने दशक नारी-उत्पीड़न के साक्षी रहे हैं और समकालीन समाज भी अपनी आँखें मूूँदकर नारी-उत्पीड़न की करूण गाथाएँ अपने बहरे कानों से सुन रहा है। नारी-सशक्तीकरण, सम्मान और अधिकारों की बहाली के लिए सरकारों ने कई कानून पारित किए, लेकिन उत्पीड़न की घटनाओं में ज्यादा कमी नहीं दीखती। Pages:192-193
Babita (CMJ University, Shillong, Meghalaya) |
Pages:194 अजय सिंह (रिसर्च स्कोलर, सिघानिया विश्वविद्यालय पचेरी बड़ी झुन्झुनू, राजस्थान) चैधरी चरणसिंह सामाजिक कार्यकर्ता एवं गांधीवादी विचारक थे उन्होने उत्तर प्रदेश के शासन का अनुभव प्राप्त करके भारत के लिए आर्थिक नीति को समझाने का प्रयास किया चैधरी चरणसिंह के विचार उनके द्वारा लिखित भारत की अर्थनीति-गांधीवादी रूपरेखा, भारत की भयावह आर्थिक स्थिती कारण और निदान तथा इण्डियन पावर्टी एण्ड इट्स सोल्यूसन पुस्तको में मिलते है। चैधरी चरणसिहं के अनुसार स्वतंत्र भारत को विरासत में चार समस्याएं मिली है जिनका परस्पर सम्बंध है 1. गरीबी 2. बेरोजगारी 3. आय की विषमता 4. कठोर परिश्रम न करने की प्रकृति। ये सभी समस्याएं जीवन के गलत दर्शन से उत्पन्न हुई है एक अन्य समस्या राजनीतिक एवं प्रशासनिक क्षेत्रों में भ्रष्टाचार के रूप में देखने को मिलती है इन सब के लिए जिम्मेदार हमारा तत्कालीन राजनैतिक नेतृत्व था हमारी समस्याओं के निराकरण के लिए विदेशी सिद्धांतो को लागु करना चाहा जबकि हमारी पस्स्थिितियां भिन्न है चैधरी चरण सिंह गांधीजी के विचारो से सहमत थे गांधीजी ने भारत के निर्माण को निम्न स्तर से ऊपर उठाना चाहा जिसका अर्थ था कि सबसे निर्धन और कमजोर वर्ग को आगे बढ़ाना इसलिए उन्होनें ग्राम को केन्द्र बिन्दु माना। चैधरी चरणसिंह ने कृषि के महत्त्व को स्वीकार करते हुए इसके विकास पर जोर दिया। भोजन मनुष्य की पहली आवश्यकता है जिसके बगैर वह जीवित नही रह सकता। खाद्यान्न की कमी से राजनैतिक अस्थिरता हो जाने की सम्भावना होती है कृषि के द्वारा 1. खाद्यान्नो के उत्पादन में वृद्धि 2. कच्चे माल का उत्पादन 3. जनता की कृय-शक्ति में वृद्धि 4. निर्यात हेतु कृषि उत्पादन प्राप्त होता है कृषि उद्योगों के लिए पूरक का कार्य करती है अतः कृषि विकास हमारे लिए बहुत महत्त्वपूर्ण हैं Pages:194
अजय सिंह (रिसर्च स्कोलर, सिघानिया विश्वविद्यालय पचेरी बड़ी झुन्झुनू, राजस्थान) |
Pages:195-197 राजेश्वर, प्रदीप सिंह बल्हारा (पत्रकारिता एवं जनसंचार विभाग, सिंघानिया विश्वविद्यालय, पाचेर बारी, जिला झुंझुनु, राजस्थान) आज देश या विदेश में कहीं भी कोई बड़ी या छोटी घटना हो उसकी खबर कुछ ही पल में हर घर में पहुंच जाती है। यह सब संचार माध्यमों के कारण ही संभव है कि हर खबर सैकेंडों में आप तक पहुंच जाती है। ऐसा ही संचार माध्यम है मीडिया जिससे यह संभव हो पाया है। मीडिया के कारण ही अन्ना हजारे व स्वामी रामदेव के आंदोलन के साथ लोग जुड़े। उनकी भ्रष्टाचार और काले धन के खिलाफ चली मुहिम को मिले अपार जन समर्थन के पीछे मीडिया का ही अहम भूमिका थी। मीडिया ने इन मुद्दों को इतनी प्रमुखता से जन-जन तक पहुंचाया कि जनता इनके समर्थन आ गई और सरकार को झुकना पड़ा। ‘संचार माध्यमों की लोकतंत्र में भूमिका’ एक ऐसा विषय है जो काफी सामयिक है। इंग्लैंड के महान वक्ता व दार्शनिक एडमण्ड बर्म ने प्रेस को लोकतंत्र का चैथा स्तंभ कहा था। हालांकि बर्म महोदय का आशय था कि तत्कालीन ब्रिटिश सरकार के तीन स्तंभ हाउस ऑफ कामंस, हाउस ऑफ लॉर्डस और स्प्रितुअल लार्डस के बाद चैथा स्थान प्रेस का ही है। वहीं भारतीय परिप्रेक्ष्य में हम कह सकते हैं कि सरकार के तीन स्तंभ विधायिका, कार्यपालिका व न्यायपालिका के बाद चैथा स्थान प्रेस अर्थात संचार माध्यमों का है। स्पष्ट है कि संचार माध्यमों की लोकतंत्र में भूमिका तलाशने के लिए हमें लोकतंत्र और संचार माध्यम को अलग-अलग तरह से देखते हुए दोनों में संबंध खोजना जरूरी है। इसलिए हम लोकतंत्र और संचार माध्यमों की परिभाषाएं देते हुए इन पर प्रमुखता से प्रकाश डालेंगे। Pages:195-197
राजेश्वर, प्रदीप सिंह बल्हारा (पत्रकारिता एवं जनसंचार विभाग, सिंघानिया विश्वविद्यालय, पाचेर बारी, जिला झुंझुनु, राजस्थान) |
Pages:198-200 Pooja Rani (Research Scholar, CMJ University, Shillong) मानव जीवन की सार्थकता नर तथा नारी के पारस्परिक संबंध पर निर्भर करती है। नारी पुरूष के पुरूषत्व को आधार प्रदान करती है। नारी के बिना पुरूष अधूरा है। नारी आदिम संस्कृति का उद्गम स्थल है। नारी सृष्टि की उत्पादिका, प्रतिपालिका और गृहस्थ सुख की सरिता का स्त्रोत है। पुरूष के जीवन का आरम्भ संघर्ष से होता है और स्त्री का आत्मसमर्पण से। नारी अपने आत्म-समर्पण से पुरूष के जीवन को पूर्ण बनाती है। ‘‘जीवन के कठोर संघर्ष में जो पुरूष विजयी प्रमाणित हुआ, उसे स्त्री ने कोमल हाथों से जयमाल देकर स्निग्ध चितवन से अभिनन्दित करके और स्नेह प्रवण आत्मनिवेदन से अपने निकट पराजित बना डाला।’’ एक-दूसरे पर अन्योन्याश्रित रहते हुए भी पुरूष नारी के शारीरिक दौर्बल्य का लाभ उठाकर उसे अपनी अंगूली पर नचाता रहा है। क्योंकि सृष्टि का यहीं अटल नियम है कि शक्तिशाली सदैव दुर्बल पर राज्य करता है। महादेवी वर्मा जी ने बहुत सुन्दर शब्दों में इस सत्य को प्रकट किया है ‘‘उसने (पुरूष) कहीं उस स्त्री को देवता की दासी बनाकर पवित्रता का स्वांग भरा, कहीं मन्दिर में नृत्य कराकर कला की दुहाई दी और कहीं केवल अपने मनोविनोद के लिए वस्तु मात्र बनाकर अपने विचार में गुण ग्राहकता दिखाई।’’ Pages:198-200
Pooja Rani (Research Scholar, CMJ University, Shillong) |
Pages:201-206 Sharmila (Department of English, CMJ University, Shillong, Meghalaya) Indian women writers emerged after Independence and they have made a signification contribution. Kamala Markendaya, Anita Desai, Nayantara Sehgal, Shashi Deshpande, Namita Gokhale, Gita Mehta and Arundhati Roy are but a few names of women who have distinguished themselves with their innovative style, depiction of social realities, advocacy of the emancipation of women and portrayal of feminine sensibilities. Some of them, like Anita Desai and Shashi Deshpande, delve deep into the psyche of their characters to reveal various dimensions of their personalities. The Indian woman I have selected for study - Shashi Deshpande is in a way, spokesperson for the new Indian woman. She may not be avowed feminist writers, but they are certainly interested in women's experiences. Though Shashi Deshpande resents being labelled a feminist writer, she agrees that she explores the 'problems of being a woman.' In her interview with Geetha Gangadhran, Deshpande categorically states: Pages:201-206
Sharmila (Department of English, CMJ University, Shillong, Meghalaya) |
Pages:207-208 Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) भारत के स्वाधीनता-संग्राम का इतिहास भी उतना ही लम्बा है, जितना हमारी परतन्त्रता का इतिहास। भौगोलिक राजनीतिक एकता की उपेक्षा करने के कारण हमारे प्राचीन गणराज्य बार-बार पराजित हुए। यह देश एक हजार से भी अधिक वर्षों तक गुलाम रहा, परन्तु फिर भी यद्यपि इसका सांस्कृतिक स्वरूप अक्षुण्ण रहा। भारत अपनी प्राचीन समृद्ध एवं नित-नवीन सांस्कृतिक विरासत के कारण आज भी वैदिक, औपनिषदिक, पौराणिक जीवन पद्धति और मूल्यों से कहीं न कहीं जुड़ा हुआ है। भारत की राष्ट्रीयता का आधार राजनैतिक एकता न होकर सांस्कृतिक एकता रही है। मुहम्मद इकबाल ने इसी तथ्य की ओर इंगित करते हुए लिखा था.... Pages:207-208
Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) |
Pages:209-210 Sarita (Sarita, VPO, Birohar, Tehsil, Jhajjar, Haryana) भारतेन्दु काल में साहित्य निर्माण का कार्य प्रचुर मात्रा में हुआ किन्तु उसके प्रचार प्रसार में अनेक बाधाएँ थीं। नौकरी पाने के इच्छुक लोग प्रायः अंग्रेजी और उर्दू की शिक्षा ग्रहण करते थे, क्योंकि अंग्रेजी शासकों की भाषा थी तथा उर्दू अदालतों की भाषा थी। हिन्दी प्रचार के लिए भारतेन्दु जी को बहुत से नगरों में जाना पड़ता था। बलिया में हिन्दी प्रचार के लिए बड़ी भारी सभा हुई जिसमें भारतेन्दु जी ने मार्मिक व्याख्यान दिया और अपना यह दोहा भी सुनाया Pages:209-210
Sarita (Sarita, VPO, Birohar, Tehsil, Jhajjar, Haryana) |
Pages:213-214 Sudhir Kumar (Department of English, Govt. College, Birohar, Jhajjar, Haryana) Looking back at the three stages of development of Indian writing in English, one can be of the opinion that the literary gyre started rolling with poets and a few writers like Michael Madhusadan Dutta and the other members of the Dutta family; Toru Dutta and Charu Dutta, Sri Aurbindo, Sarojini Naidu, Rabindranath Tagore, etc. made its strong mark in the post-Independence era and now widened the gyre in all its respects in the present situation. However, it's a well agreed fact that literary genius flourish more having conducive literary atmosphere. It is exclusively done through literary associations and movements. Unfortunately such movements and associations are yet to be fully blossomed in Indian writing in English. Alongside, apathy on the part of publishers also affected a lot the development of Indian writing in English. This has been the major difference between English and Indian writing in English. The conducive atmosphere 'English' writers got was absent in terms of Indian writers in English. Pages:213-214
Sudhir Kumar (Department of English, Govt. College, Birohar, Jhajjar, Haryana) |
Pages:215-217 Vandana (D.A.V. College Sector-10 Chandigarh) Among the 20th century dramatists/writers influenced by Absurdism, Harold Pinter emerges as most remarkable for his experimentation in dramatic art. The common features of the theater of absurd are present in his early work, such as an absence of communication, problem of identity, pseudo-reality, cruelty, menace, and disturbing existential gnawing torment in man's mind. Man's confrontation with rootlessness, absurdity, the senselessness of life, devaluation of human values, beliefs, ideas and purpose, after WWI and II has been pictured in Pinter's early works too like Birthday Party, the Dumb waiter, The Room, etc. Ruby Cohn rightly points out: “Pinter is not only Pages:215-217
Vandana (D.A.V. College Sector-10 Chandigarh) |
Pages:218-220 Milind M. Ahire (Department of English, Arts, Commerce and Science College Surgana, Nashik, Maharashtra) Teaching of English at university level in rural area is strikingly different from English language teaching in urban or metropolitan setting. Curriculum and syllabus are being designed irrespective to the learning needs of the students. Need analysis is not always an essential part of syllabus and curriculum designing procedure. This , then results in the system which tries hard to make the target students swallow an uncooked piece of meat when he/she is in search of water to get some relief. Curriculum and syllabus remain same throughout the colleges under the head of a particular university and all the students at a particular level are almost thought of at same intellectual level irrespective of region, socio-economic status, etc. course content prescribed at university level for various courses in English is in most cases unfamiliar to the students. Moreover, teachers most of them, develop an attitude towards teaching which concentrates more or less on equipping the students to get the minimum number of marks. Here, the set aims and objectives, however ideal they may be, get defeated thus making the whole educational set up collapse. Pages:218-220
Milind M. Ahire (Department of English, Arts, Commerce and Science College Surgana, Nashik, Maharashtra) |
Pages:221-223 Rakesh Bharti Yadav (S.K.P.G.College, Kanwali) Ashok Banker was born on 7th February, 1964. He is a novelist and short story writer. He has worked as a print journalist, columnist, and script writer for TV series and documentaries and in advertising. Banker as a contemporary novelist is a significant name in post-colonial Indian literature. He is noted for his cross-cultural themes and his realistic portrayal of Indian urban issues. He has published in several genres ranging from fiction to mythological epics. Vertigo is his first novel, though fifth to be published. It contains autobiographical elements. It is about a man struggling to make a successful career and home life in Mumbai. Banker delves deep into the crises of relationship within the family and the society in the post- colonial Indian society. His portrayal of the fragmented relationship between the individual and the family and between the individual and the society and its effect on the psyche of the protagonist forms the core of the novel. Banker brings in contrast the traditional mindset with the modern value system. He exposes the motives and machinations underlying the web of human relationship. The purpose of my paper is to reveal the intricacies of human relationship in the life of the protagonist Jayesh Mehta who has a mixed parentage; his mother being a Catholic and his father being a Gujrati and the inner turmoil of his mother who had been divorced by his father only after an year of their marriage and has to bring up her son as a single parent. Pages:221-223
Rakesh Bharti Yadav (S.K.P.G.College, Kanwali) |
Pages:224-228 Monika Choudhry (T.R. College of Education, Sonepat, Haryana) In almost all the Indian languages, the modern age begins with the first struggle for India's freedom in 1857, or near that time. The impact of western civilization, the rise of political consciousness, and the change in society could be seen in what was written during that time. Contact with the western world resulted in India's acceptance of western thought on the one hand, and rejection of it on the other, and resulted in an effort made to revive her ancient glory and Indian consciousness. A large number of writers opted for a synthesis between Indianization and westernization, in their search for a national ideology. All these attitudes were combined to bring about the renaissance in 19th century India. But it was a renaissance in a country which was under foreign domination. So it was not that kind of renaissance which had spread in 14th-15th century Europe, where scientific reasoning, individual freedom and humanism were the dominant characteristics. The Indian renaissance took a different shape, in the context of the Indian race, moment and milieu, and as a result, nationalistic, reformistic and revivalistic thinking found its way into literature, which slowly turned itself into a pan-Indian movement, spearheaded in different parts of the country by renaissance leaders like Raja Rammohun Roy (1772-1833), Bankim Chandra Chatterjee, Vivekananda, Madhav Govind Ranade, U.V. Swaminatha Aiyer, Gopal Krishna Gokhale, K.V. Pantulu, Narmada Shankar Lalshankar Dave and othrs. The leaders of the renaissance, in fact, succeeded in instilling nationalistic fervour in the people, and induced in them a desire for social reform and a sentimental yearning for their past glory. Pages:224-228
Monika Choudhry (T.R. College of Education, Sonepat, Haryana) |
Pages:229-230 Saroj Bala (Department of Political Science, C.M.K. P.G. College Sirsa, Haryana) In the period that we are living right now, among the numerous victories of progress, of globalization and of industrialization in South Asia, still one cannot deny the persistence of different conflicts that involves the whole world. South Asia happened to be a region of intensive security dilemma. The nuclear tests conducted by India and Pakistan have shifted its entire security focus from the conventional to that of the nuclear. The threat of weapons of mass destruction and the battle against poverty, hunger, environment pollution, violence, demand strongly all the attention and concrete action of Governments and International Organizations. Pages:229-230
Saroj Bala (Department of Political Science, C.M.K. P.G. College Sirsa, Haryana) |
Pages:231-234 Sunita Chahal (Department of English, I.G. College Ladwa, Kurukshetra, Haryana) This paper is an attempt to review the novel by keeping in mind the narratological concept and the disguise image of mercy shown in the novel. A Mercy is set in the colonies in the second half of the seventeenth century which was a tempestuous time in Europe. People migrated for religious freedom, and economic betterment. Many were transported because they were miscreants. Slaves were captured in Africa and brought to America. Morrison's cast of characters represents the spectrum of immigrants. The Southern colonies as well as North are affected by slavery. Morrison writes that “the only difference between African slaves and European or British slaves was that the latter could run away and melt into the population. But if you were black, you were noticeable”(Little, radio interview). Pages:231-234
Sunita Chahal (Department of English, I.G. College Ladwa, Kurukshetra, Haryana) |
Pages:235-237 Dipika Rani (Department of English, Govt College for Women, Hisar, Haryana) Feminism, a term first used by French dramatist Alexandra Dumas, the younger, in a pamphlet L' Homme-femme in 1872, is a much debated, discussed subject of the twentieth century. Feminism attempts to locate, change and reshape cultural practices that are responsible for suppression of women. While at the same time it shows that phallocentrism is a cultural construct which is viewed by Fe/Male as “Natural” which perhaps can and should be deconstructed. By attempting such an endeavour, feminism focuses on analyzing and examining the suppressed status of women and the oppressive modes in a sexist culture. Feminism is not necessarily “anti-men” but is against any social system which recognizes female subordination. This, in fact, helps to create a society requiring both men and women to co-operate rather than confront and also to overcome their egotistical urge for self-assertion through annihilation of the other. Interestingly gender is the product of sexual colonialism subverting women's sense of self-worth by telling them that their Mothering in society is preordained. In the words of Elaine Showalter, a well known American feminist critic, we are not learning what women have felt and experienced but only what men have thought women should be. Pages:235-237
Dipika Rani (Department of English, Govt College for Women, Hisar, Haryana) |
Pages:238-240 Nitika Rani (Department of English, Govt College, Hisar, Haryana) Desai's greatness as a writer revolves round her achievement in exploring the psyche of her characters. She plumbs the depth of the inner life of Indian women. The rewards are remarkable and deeply enlightening. The probing of the novelist always brings up innumerable conflicts, mostly psychological. Desai has not only depicted these conflicts but also probed the reasons behind them. Even a casual survey of her novels brings out the fact that the existing gender inequality based on money, the dichotomy that exists between the public and private spheres of a woman's life, the male dominance in society and sex role stereotyping have contributed to the various kinds of conflicts -inter-personal and intra-personal in which the female self is tossed about, beaten, battered and even broken. Pages:238-240
Nitika Rani (Department of English, Govt College, Hisar, Haryana) |
Pages:241-243 Dipika Rani (Department of English, Govt College for Women, Hisar, Haryana) Contemporary woman's fiction all over the world today opts to prioritize those categories of women and aspects of female experience which the representational practices of the dominant phallocentric culture tend to marginalize or even erase. Such practice can also be envisaged in Margaret Laurence's A Jest of God and Shashi Deshpande's The Dark Holds No Terrors. Both of the novels dramatize the plight of women, the marginalized, in a male oriented, chauvinistic society through the inner lives of their protagonists. These works focus mainly on the woman in society, her nature and ability to handle personal relationships, to control her destiny within the limitations imposed by the society and the coercive effects of the social pressure. They index a novel image of a woman who tries to resist being relegated to the margins at every step in her routine life. Pages:241-243
Dipika Rani (Department of English, Govt College for Women, Hisar, Haryana) |
Pages:244-246 Nitika Rani (Department of English, Govt College, Hisar) Anita Desai portrays the existential insecurity created by stereotyping in a very powerful manner. According to Desai women feel that they are outcast. They feel empty, threatened and depersonalized by family and society. Desai feels that this insecurity makes women vulnerable. The Indian woman, owing to this, experiences the risk of losing her identity and self-image in highly potentiated forms. Desai's novels graphically portray the existential anguish of Indian women, who are unable to forestall the danger of being sucked into the whirlpool of stereotyping. It is so powerful that it shakes the reader out of complacency. Through Monisha in Voices in the City Desai unveils the real drama of Indian woman's life, bordering on the tragic. She is swamped, impinged upon by the stereotyped role models, customs and traditions of the establishment. She feels that she lives to satisfy others. Monisha feels an outcast in the confines of her husband's joint family. She asks a question to herself "what is the meaning of life without freedom and equality?."'1 It is a question existential in its anguish epitomizing the frustration of an average Indian woman stereotyped to play rather a meaningless and marginal role in life. The greatest trauma according to Desai is to exist alone, amidst the madding crowd, without any understanding and love. If the person is more conscious or aware of his autonomous self, the anguish is more. Monisha thus experiences her "separateness" in an intense manner. The trapped situation of Indian woman as evidenced in the case of Monisha is comparable to that of the caged dove which is unable to move freely. Monisha looking out through the barred window of the house brings home to us the domestic confines that really limit, handicap and even obstruct the personal development of Indian women. She oscillates between two extremes: either to completely submerge her identity or to impel her individual self forward, breaking all confines and then existing in isolation and preserving her autonomy. According to Desai the discrimination against women and the submissiveness of her sex have become enduring characteristics of Indian society. Pages:244-246
Nitika Rani (Department of English, Govt College, Hisar) |
Pages:247-248 Reetu Sardana (Department Of English, D.N.P.G. College, Hisar, Haryana) We deem it necessary to see critically how the dalits across India see an emergent pan-Indian dalit cultural identity. This cultural identity is being articulated through creative writing in many Indian languages. It has been through such creative writings, also known as dalit literature, that the dalits have repudiated norms of untouchability, oppressive caste structure and the normative ideology of brahminism. Pages:247-248
Reetu Sardana (Department Of English, D.N.P.G. College, Hisar, Haryana) |
Pages:249-255 Ranveer Singh (Department of English, M.D. University, Rohtak, Haryana) Amitav Ghosh,a world renowned novelist and author,was born in Kolkata(Calcutta) in 1956. The writings of Amitav Ghosh have often been seen as exercises that extended beyond the genres which frame them. This applies, to a great extent, to most of what Ghosh has written fiction as well as non-fiction. Several researches have been conducted on the novels of Amitav Ghosh. Different scholars have analyzed his novels with different perspectives. The present study is based on the assumption that the fictional works of Amitav Ghosh reflect a confluence of history and human insights. Pages:249-255
Ranveer Singh (Department of English, M.D. University, Rohtak, Haryana) |
Pages:256-257 Rajni Kumari (Research Scholar, M.D.University, Rohtak, Haryana) This work examines Gandhi's political progress during the last four years of his life in which he saw the end of British rule in India and, the emergence of the sovereign states of India and Pakistan. It provides an account of how and why the independence of India was accompanied by partition. In the period from 1944 to 1948, Britain ended its rule over India. The British progressively divested themselves of the power and impediment of Empire, by degrees, delivering the reins of government to Indian hands. But independence in India was accompanied by a parallel development: the partition of the east while imperium into two sovereign states - India and Pakistan. For most Indian nationalists the achievement of independence was flawed by this division of the subcontinent. Pages:256-257
Rajni Kumari (Research Scholar, M.D.University, Rohtak, Haryana) |
Pages:258-261 Satyavati and Prem Parkash Khatri (Research Scholar, Singhania University Jhunjhunu Rajasthan, Research Supervisor, Singhania University Jhunjhunu Rajasthan) Vikram Seth's Two Lives, published in 2005,1 is a work centred on questions of expatriate diasporic identity, not easy either to define generically or to place spatially and culturally within the globalising literary economy of the early twenty-first century. It is a non-fiction narrative, set mostly in Germany and England, which chronicles the lives of two of Seth's own relatives across the second two-thirds of the twentieth century. There is nothing naïve or simplistic about this work: rather, it raises complex issues concerning the relationship between text and history, while also exploring questions of identity and belonging in terms that ultimately point beyond the very category of postcolonial writing into which Seth's volume apparently falls. Pages:258-261
Satyavati and Prem Parkash Khatri (Research Scholar, Singhania University Jhunjhunu Rajasthan, Research Supervisor, Singhania University… |
Pages:262-263 Vandana and Krishan Kumar (Research Scholar, Monad University and MM College, Fatehabad, Haryana) A few decades ago, there was no Pakistan. The land now called Pakistan was earlier part of India which came into being as a result of the two-nation theory promoted by the Muslim League leader, Mohammad All Jinnah. Conflicts between Muslim League and Congress, leadership of Jinnah, Muslim's support to favors British rulers were some of the major factors contributing towards the creation of Pakistan Pages:262-263
Vandana and Krishan Kumar (Research Scholar, Monad University and MM College, Fatehabad, Haryana) |
Pages:264-268 Rajni Kumari (Department of Political Science, M.D. University, Rohtak) This paper is based on document research of the history of the region and adopted policies, together with field research on the work of councils and local government units, as well as policy results. Field research focuses on local panchayats in cities where government offices are located and where the two communities reside. Field interviews will also play a central role in collecting data on many and diverse opinions and perspectives. We would also be interested in contacting faculty and accessing research materials at the Panchayati Raj Institutions which are of direct relevance to this research. The research will be undertaken in three stages; a comprehensive literature review, semi-structured interviews, and cluster analysis. Pages:264-268
Rajni Kumari (Department of Political Science, M.D. University, Rohtak) |
Pages:269-270 Vandana Rehdu and Krishan Kumar (Research Scholar, Dept of History, Monad University, Hapur and MM College, Fatehabad, Haryana) The idea of Pakistan was not an Islamic state - under Sharia Law and serving as a bastion for the Islamic faithful - but a land where Muslims of India would not fear Hindu economic, political, and social domination. That fears itself was grossly exaggerated and could have been better addressed without creation of a separate state. Jinnah joined the Muslim League that fought for the cause of the Muslim and dominated the politics of the Muslim for many years. Jinnah played a pivotal role in the Lucknow pact in 1916 and was hailed as an ambassador of Hindu-Muslim unity. He was imbued with the spirit of forming Hindu-Muslim unity during this period with the emergence of Jinnah; a liberal wing in the Muslim league had become increasingly powerful. Even prior to Lucknow pact, Jinnah had made frantic efforts to bring about Hindu-Muslim unity. During November, 1915 he endeavored to persuade the Muslim League members to hold its session in Bombay on December 30, 1915. Again Jinnah presided over the Lucknow session of the league which facilitated the Lucknow Pact. Pages:269-270
Vandana Rehdu and Krishan Kumar (Research Scholar, Dept of History, Monad University, Hapur and MM… |
Pages:271-273 संजीत (मनोहर मैमोरियल काॅलेज, फतेहाबाद, हरियाणा) शब्द लेख सारः भारत की संस्कृति का उद्गम और नव आर्थिक चेतना का प्रतीक हरियाणा अपनी उदारता, शरणागत- वत्सलता और निर्मल साहित्य साधना के लिए विख्यात है। राजभाशा हिन्दी के अतिरिक्त हरियाणा अपनी प्रादेशिक भाशा बोली व संस्कृतिक गीतों के लिए विशेश रूप से प्रख्यात है। क्योंकि लोक साहित्य व संस्कृति अपने समाज की प्राण होती है और हरियाणा का लोक साहित्य व संस्कृति अत्यन्त समृद्ध है और इसकी लोक गीत विधा की अमिट छाप जनमानस पर स्पश्ट अभिलक्षित होती है। Pages:271-273
संजीत (मनोहर मैमोरियल काॅलेज, फतेहाबाद, हरियाणा) |
Pages:274-276 रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) डाॅ. लक्ष्मीनारायण लाल नाटक की भाशा के विभिन्न आयामों को उजागर करने में सिद्धहस्त हैं। उन्होंने हिंदी नाटक को नवीन सर्जनात्मक उपलब्धियों से परिचित करवाकर एक नूतन नाट्य-धारा का प्रवर्तन किया, जिसमें वे गीत के माध्यम से यथार्थवादी भाशिक चेतना का आरम्भ करते हैं। नाटक में गीत-निर्माण की परम्परा आति प्रयोग रही है तथा डाॅ. लाल ने भी इस परम्परा का निर्वाह सफलता पूर्वक किया है। इस काल के रचनात्मक धरात का अध्ययन करने पर यह स्वीकार करना पड़ता है कि हिंदी नाटक में गीत का उन्मेश 1950 के आस-पास प्रारम्भ हो चुका था। इस गीत योजना के कारण अखिल भारतीय रंग चेतना का प्रचार हुआ। स्वतंत्रता के पश्चात् अन्तर्राश्ट्रीय स्तर पर सांस्कृतिक आदान-प्रदान की महती आवश्यकता अनुभूत करते हुए नाटक में गीत के समावेश की आवश्यकता महसूस की गई। इस कारण से तत्कालीन हिंदी नाटकों में गीत-संगीत के क्षेत्र में उठने वाला यह आलोड़न वस्तुतः वर्तमान प्रयोगधर्मी नाटक की यात्रा का ही एक सबल पक्ष अभिव्यंजित करता है। नाटक में संवाद की सबसे महत्वपूर्ण भूमिका होती है। यह संवाद गीत के माध्यम से अभिव्यक्त किया गया हो, तो यह प्रेक्षकों पर अधिक प्रभाव डालने में सक्षम बन जाता है। डाॅ. लक्ष्मी नारायण लाल ने इस धारणा को ग्रहित कर अपने नाटकों मेें गीतों का अधिक से अधिक समावेश किया है। Pages:274-276
रूबी चैधरी (हिंदी विभाग, फिरोज गंाधी मैमोरियल स्नात्तकोतर महाविद्यालय, मंडी आदमपुर, हिसार) |
Pages:277-279 प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) प्रसाद के आर्थिक साहित्य पर पुनर्जागरण का प्रभाव स्पष्टतः परिलक्षित होता है। प्रसाद के हृदय को, जनता का करुण क्रन्दन, अर्थाभाव के कारण रोटी के लिए मची हुई हाहाकार, पूँजीपतियों के खूनी पँजों में फँसे हुए श्रमजीवी वर्ग की समस्याएँ तथा सामाजिक रूढ़ियों की शिकार हुई दैन्य तथा विवशता की मलित मूर्ति नारी की चीत्कार, सुदृढ़ न रख सकी। उनमें अन्तर्मन में भी एक तूफान उठने लगा। अतएव उन्होंने अपने नाटकों में समाज के इसी आर्थिक रूप के यथार्थ चित्रण को अपने साहित्य में निमग्नता से दर्शाया है। पुनर्जागण के प्रभाव स्वरूप श्रमजीवी दल में भी एक क्रांति आने ली और वह अपने आक्रोश को मिटाने के लिए पूंजीपतियों के विरु( विनाशकारी भावना लेकर उद्यत होने लगा था। सोवियत रूस में जनक्रान्ति सफल हो रही थी। कार्लमाक्र्स के साम्यवाद की शंखध्वनि सुनकर विश्वभर का दलित जनसमुदाय देश तथा जाति का विभेद मिटाकर की शंखध्वनि सुनकर विश्वभर का दलित जनसमुदाय देश तथा जाति का विभेद मिटाकर एक होने लगा। आर्थिक तथा भौतिक आधार पर यह विश्वव्यापी एकीकरण था। इसी की प्रतिध्वनि ‘राज्यश्री’ नाटक में भी सुनाई देती है। राज्यश्री अपने भाई के साथ कषाय धारण करती है तथा अपना सारा वैभव ‘लोकसेवा’ में छोड़ जाती है। तथा सभी समवेत स्वर में गाते है। Pages:277-279
प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) |
Pages:280-285 रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) हरियाणा’ शब्द वैदिक कालीन शब्द है जिसकी व्युत्पत्ति ’हरि’ अथवा ’हर’ और ’यान’ के योग से हुई है। इसका व्युत्पत्तिमूलक अर्थ है हरि या हर का यान हरस्ययानम् हरयानम्। हर का अर्थ है देवाधि देव, आदि देव, महादेव शिव। ’यान’ के संस्कृत में कई अर्थ हैं - जाना, सवारी करना। एक जनश्रुति के अनुसार एक बार महाराजा हरिशचन्द्र यहाँ आये थे। जिन्होंने इसे बसाया और सँवारा। फलस्वरूप ’हरिशचन्द्र’ अर्थात् हरि का आना हरियाणा नाम से यह नगर विख्यात हो गया। वस्तुतः सर्वप्रथम ’हरयान’ शब्द का प्रयोग संसार के अंयतम और प्राचीनतम ग्रंथ ऋग्वेद में ’रज हरयाणे’ के रूप में हुआ। ऋग्वेद के बाद निरूक्त के नैगम काण्ड में भी ’हरयानो’ हरमाणयान’ गमनशीलागनः शब्द का प्रयोग बिना किसी विकार के हुआ है। हरियाणा के बारे में भी यही कहा जाता है कि इस प्रदेश में जो जंगल या वन था उसका नाम ’हरियावन’ प्रदेश कहा जाने लगा। फिर यही हरियावन - हरिआवन - हरियाअन - हरियान - हरियाना हो गया। इसी प्रकार हरियाणा के बारे में ’पाश्र्वनाथ-चरित्र’ में अपना परियच देते हुए जैन कवि श्रीधर ने लिखा है कि वे हरियाणावासी हैं। प्राचीन शिलालेखों में हरियाणा के तीन विविध नाम मिलते हैं हरियाणा, हरियाणक और हरितानक। डाॅ॰ शंकर लाल यादव ने हरियाणा का नामकरण स्पष्ट किया है - ’’हरियाणा प्रान्त का इतिहास एक रूप से उपेक्षित रहा है। प्रागैतिहासिक काल से लेकर अब तक का इतिहास इस प्रदेश के विषय में मूक बना हुआ है। शक, मालव आदि तक्षशिला को केन्द्र बनाकर विकसित हुए। उनके समय में मथुरा नगर ऐतिहासिक प्रसिद्धि प्राप्त कर चुका था किन्तु तक्षशिला और मथुरा के मध्यवर्ती इस प्रदेश को कोई ऐतिहासिक महत्ता नहीं मिली। खेद की जिस महान प्रदेश को आज हरियाणा के नाम से पुकारा जाता है उस प्रदेश का प्राचीन ग्रन्थों में इस नाम से कहीं वर्णन तक नहीं मिलता। Pages:280-285
रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) |
Pages:286-288 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) ’अध्यात्म का अर्थ होता है आत्मा संबंधी या आत्मा परमात्मा के सम्बन्ध में चिन्तन मनन।1. अध्यात्म ज्ञान आत्मा सम्बंधी ज्ञान होता है। आत्मा व परमात्मा का विचार करने वाले शास्त्र को अध्यात्म विद्या कहा जाता है। भगवान के प्रति लगाव होना, आत्मा- परमात्मा का मिलना, आत्मा का परमात्मा या विश्व आत्मा के तडफना, दिन रात उस एक प्रभु को याद करना । ये सभी आत्यात्मिक भाव होते हैं। जब भक्त स्वंय को पुरी तरह से ईश्वर के प्रति समर्पित कर देता है। उसकी आत्मा परमज्योति को पाने के लिए तडफने लगती है। वह सब संसारिक बंधनों से मुक्त हो जाता है। त बवह उसकी प्रणय साधना बन जाती है। वह अपनी आत्मा से बातें करता है। भक्त अपनी भक्ति में ही रमा रहता है। उसकी भक्ति भावना में इतनी शक्ति आ जाती है कि वह ईश्वर को पा जाता है। डा0 सूर्यनारायण द्विवेदी के सभी उपन्यास आध्यात्मिक भावों से भरे हुए हैं। उनके उपन्यासों का आधार स्त्रोत पौराणिक धार्मिक ग्रंथ रहे हैं। Pages:286-288
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:289-293 रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) हरियाणवी लोकगीतों में जहाँ पेड़-पौधों का स्पष्ट व साफ-सुथरा वर्णन है वहीं पर धार्मिक मान्यताएँ भी हैं। विवाह के शुभ अवसर पर प्रकृति एवं वनस्पतियों के द्वारा देवी-देवताओं को प्रसन्न करने के लिए पूजा की जाती है क्योंकि देवी-देवताओं के द्वारा ही हमारी सृष्टि संचालित होती है और इन्हीं पेड़-पौधों पर देवताओं का निवास है - पाँच पतासे पान्या का बिड़ला, लै सैयद पै जाइयों जी जिस डाली म्हारा सैयद बैठ्या, वा डाली झुक जाइयों जी पाँच पतासे पान्या का बिड़ला, लै माता पै जाइयों जी जिस डाली म्हारी माता बैठी, वा डाली झुक जाइयों जी पाँच पतासे पान्या का बिड़ला, लै देवीपै जाइयों जी जिस डाली म्हारी देवी बैठी, वा डाली झुक जाइयों जी।84 विवाह के अवसर पर इस लोकगीत के माध्यम से पवन पुत्र हनुमान की आराधना भी की जाती है। वायु के बिना कोई भी जीव-जन्तु सांस नहीं ले सकता। ऐसे देवता के निवास स्थान पर प्रकृति रूपी चंदन वृक्ष के माध्यम से प्रकाश डाला गया है। जिससे शीतलता प्राप्त होती है और शुभ अवसर पर इसका प्रयोग होता है - काहे की तेरी ओबरी, काहे का जड़ाए किवाड़, सच्चा हनुमान बली अगड़ चन्दन की ओबरी, चन्दन चड़ाए किवाड़, सच्चा हनुमान बली।85 Pages:289-293
रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) |
Pages:294-295 Babita Rani (Independent Scholar, M.D.University, Rohtak) The novel Guide is full of farcical situations. R.K. Narayan as writer has a genuine ability to create humor in any critical situation. The humor of his novels catches the attention of the reader accurately. Humor may be defined as the kindly and amused perception of incongruities of life and R.K. Narayan gives artistic expression to such perception. His humors classical because the community does not have even to prove its superior strength to the individual, the later exhausts his self, his fantasies, thus returning to the community like the prodigal son in the new testament. Narayan's irony, of course touches the individual as much as it does the community; it touches both in order to show how essentially comic they are, but his moral discriminations enable the reader to see the comedy of the individual carrier in terms of vanities and superficialities, while the life of the community, stupidity, superstitions and irrationality, is given stability and grace which the individual lacks. Narayan does not satirize the individual ionizes him. Beneath his ironic amusement at the hero's incongruous and ludicrous behaviors, his moral discriminations remain very much active. The individual is lost if he is lost to his community. His irony keeps his sympathies unobtrusive. Narayan does not idealize the community ethos either enough to absurdities. But his humor depicts it truly that life is to be enjoyed. Pages:294-295
Babita Rani (Independent Scholar, M.D.University, Rohtak) |
Pages:296-298 Ginni Rani and Aarti Kadian (Research Scholar, M.D.U., Rohtak. Haryana and Assistant Professor, P.M.C.E., Sonipat, Haryana) A winner of Sahitya Academy award (1979), the novel Inside the Haveli (1977), is the only novel by the sociologist Rama Mehta. This novel is a vital effort to deconstruct the patriarchal hegemonic structures and aims at liberation of women from the clutches of patriarchy. Simultaneously it depicts a conflict and gradual subversion between tradition and modernity, through the character of Geeta, the protagonist of the novel and the spokesman of the author as well. Inside the Haveli is a panorama of Indian society where Geeta a bold and spontaneous Bombay girl marries into an orthodox family in Udaipur. There she faces sick traditions like veil practice and chauvinistic environment but somehow manages to carve out an identity for herself by imparting education to children of maids. Gradually she herself starts admiring the traditions but still maintains her modern ideals. In the end she decides to live in haveli forever and is declared the mistress of haveli after the death of his father-in-law. Pages:296-298
Ginni Rani and Aarti Kadian (Research Scholar, M.D.U., Rohtak. Haryana and Assistant Professor, P.M.C.E., Sonipat… |
Pages:299-300 Sarita Dahiya (Assistant Professor, D.H. Lawrence College of Education, Jhajjar) In the Dictionary of Irish Literature under the entry of W.B. Yeats, the introductory paragraph runs as follows: 'Yeats, William Butler (1865-1939), a foremost poet of the English-speaking world, founder of the Abbey Theatre, dramatist, spokesman for the Irish Literary Revival, essayist, autobiographer, occultist, member of the Irish Free State Senate, and winner of the 1923 Nobel Prize for literature'.1 Looking over the large crowd at the first meeting of the Rhymers' Club in 1890, William Butler Yeats dryly observed, “The one thing certain is that we are too many.” While he included himself in their number, all the assembled knew he was first among them. So he remained the rest of his life, and after, as one of the most acclaimed literary figures in the last hundred years and certainly the best known of Irish poets. Playwright and man of the theater, folklorist, scholar, adept in many a mysterious realm as well, Yeats had a gift for making music out of ordinary speech and an uncanny knack for finding striking metaphors and coining memorable phrases. Pages:299-300
Sarita Dahiya (Assistant Professor, D.H. Lawrence College of Education, Jhajjar) |
Pages:301-302 Devender Singh (Research Scholar in CMJ University Working as a Lecturer in Jat College Hisar) India has had links with the West from the dawn of her history. As early as 1500 B.C. her first European invaders, the Aryans, came through the north-western passes and settle on the bank of the river Indus to build up a civilization, which in course of time came to dominate and assimilate all the separate culture of the sub-continent. It was inevitable that these early European would look back to their roots, and fact that they did not so almost uninterruptedly till the Middle Age has been established by historians and scholars of antiquity. Political, economical and intellectual connection between India and Europe are evident in several cultural parallels at certain points of history. During the middle Ages, there was little or no direct connection between India and west. It was once again established during the second European invasion of the east. Pages:301-302
Devender Singh (Research Scholar in CMJ University Working as a Lecturer in Jat College Hisar) |
Pages:303-305 प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) सामाजिक पुनर्जागरण सम्बन्धी आन्दोलनों के अन्तर्गत ब्रह्म समाज, आर्य समाज, थियोसोफिकल सोसाइटी, रामड्डष्ण मिशन, प्रार्थना समाज आदि सुधारवादी सामाजिक संस्थाओं ने देश में प्रचलित सती-प्रथा, बालविवाह, बहुविवाह, जात-पात, छुआछूत आदि अनेक कुरीतियों के विरु( आन्दोलन छेड़ने का संकल्प लिया। शिक्षित समुदाय की जागृति के फलस्वरूप इन सामाजिक पुनर्जागरण का आन्दोलनों का जन्म हुआ। ‘प्रसाद’ के साहित्य पर भी इन आन्दोलनों का प्रभाव दृष्टिगोचर होता है। Pages:303-305
प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) |
Pages:306-308 Amandeep Kaur and Sudhir Kumar (Department of English, Monad University, Hapur, UP) Anita Desai's is one of the most significant fiction writers today her fiction can be analyzed taking into consideration the psychological motivations of her novels as psychic drama through flashback, diary entries, self analysis, ruminations, rumbling of dialogue and description of places and people. Looking inward in her characters, Desai explores the intricate facts of human experiences bearing upon the central experience of psychic tensions of characters. Her chief concern is human relationship. Her central theme is the existential predicament of an individual which she projects through incompatible couples- very sensitive wives and ill-matched husbands. Pages:306-308
Amandeep Kaur and Sudhir Kumar (Department of English, Monad University, Hapur, UP) |
Pages:309-311 Amandeep Kaur and Sudhir Kumar (Department of English, Monad University, Hapur, UP) Virginia Woolf in A Room of one's own had pointed out a big paradox of women's existence: “She pervades poetry from cover to cover; she is all but absent from history1” and analyzing the effect of lack of space to women in their creativity she had demanded a room of one's own which significantly underlines the importance of space because from it springs subjectivity and identity. The recurrent strain in contemporary women's fiction is on female protagonists' struggle for identity and existence. No doubt they are feminine and very close to home, living in the cocoon of four walls of their home, but the peculiar domestic situation do ignited their thinking process and urge to put the thoughts on paper, making them move beyond hearth and home. In fact, the act of breaking her silence and carving a counter space for herself in society which has denied her space. The feminine is essentially the marginalized consciousness that operates on the periphery of patriarchal discourse and seeks to write counter narratives. Pages:309-311
Amandeep Kaur and Sudhir Kumar (Department of English, Monad University, Hapur, UP) |
Pages:312-314 वर्षा देवी (राजेन्द्र सेठ कालोनी, कैथल, हरियाणा) बिम्ब-रचना काव्य का मुख्य व्यापार है। बिम्बों के द्वारा कवि वस्तु, घटना, व्यापार, गुण, विशेषता विचार आदि साकार तथा निराकार पदार्थों और मानव-क्रियाओं को प्रत्यक्ष एवं इन्द्रियग्राह्य बनाता है। डाॅ. भगीरथ मिश्र ने बिम्ब विधान की परिभाषा इस प्रकार दी है-‘‘वस्तु, भाव या विचार को कल्पना एवं मानसिक क्रिया के माध्यम से इन्द्रियगम्य बनाने वाला व्यापार ही बिम्बविधान है।’’1 बिम्ब दो प्रकार का होता है, ऐन्द्रिय बिम्ब और मानस बिम्ब। सुमन जी की कविता यद्यपि विचार-प्रधान और भाव-प्रधान है तथापि उन्हें मार्मिक सरस एवं संवेद्य बनाने की दृष्टि से उसमें कल्पना तथा अनुभूति के समवेत सहयोग से विभिन्न प्रकार के बिम्बों की सृष्टि हई है। बिम्ब के आस्वादन के माध्यमों के आधार पर बिम्बों के पांच प्रमुख प्रकार मान्य हैंः- Pages:312-314
वर्षा देवी (राजेन्द्र सेठ कालोनी, कैथल, हरियाणा) |
Pages:315-316 वर्षा देवी (राजेन्द्र सेठ कालोनी, कैथल, हरियाणा) हिन्दी का आधुनिक काल संवत् 1900 से अब तक माना जाता है। महाकाव्य रचना की दृष्टि से यह काल पर्याप्त समृद्ध रहा है। इस काल को विद्वानों ने चार युगों में विभाजित किया है- भारतेन्दु-युग, द्विवेदी-युग, छायावाद-युग और छायावादोत्तर-युग। भारतेन्द्र -युग पुनरुत्थान का काल था। इस युग में कविता, नाटक, उपन्यास, कहानी तथा निबन्ध आदि विविध क्षेत्रों में साहित्य का विकास हुआ। परन्तु, यह आश्चर्य की बात है कि इस युग में किसी महाकाव्य का सृजन नहीं हो सका। इसके मूल में तीन मुख्य कारण हैं- प्रथम, यह युग परिवर्तन और संघर्ष का था तथा महाकाव्यों की रचना शान्ति-काल में ही सम्भव हो सकती थी। दूसरे, केवल भारतेन्दु जी ही एक मात्र अपने युग के प्रतिभा-सम्पन्न कवि थे, जिनसे महाकाव्य रचने की आशा की जा सकती थी। किन्तु, वे इतने अल्पकाल जीवित रहे कि यह कार्य उनसे अपूर्ण ही रह गया। तीसरे, इस युग में महाकाव्योचित भाषा का स्वरूप अनिश्चितता के क्षेत्र में अंगड़ाइयाँ ले रहा था। बृजभाषा और खड़ी बोली में से किसको महाकाव्य के लिए उपयुक्त भाषा ठहराया जाये, यह प्रश्न विद्वानों के लिए अभी विचारणीय था। अतः भारतेन्दु-युग में कोई महाकाव्य नहीं रचा गया। इस अभाव की पूर्ति द्विवेदी-युग में सम्भव हो सकी। महावीर प्रसाद द्विवेदी से प्रेरणा ग्रहण कर अयोध्यासिंह उपाध्याय ‘हरिऔध’ के ‘प्रियप्रवास’ और मैथिलीशरण गुप्त के ‘साकेत’ महाकाव्य का प्रणयन इसी काल में हुआ। छायावाद-युग और छायावादोत्तर-युग तक आते-आते तो अनेक महाकाव्य रचे गये, जो अपनी नवीनता में स्वयं प्रमाण हैं। Pages:315-316
वर्षा देवी (राजेन्द्र सेठ कालोनी, कैथल, हरियाणा) |
Pages:317-318 Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) भारत के स्वाधीनता-संग्राम का इतिहास भी उतना ही लम्बा है, जितना हमारी परतन्त्रता का इतिहास। भौगोलिक राजनीतिक एकता की उपेक्षा करने के कारण हमारे प्राचीन गणराज्य बार-बार पराजित हुए। यह देश एक हजार से भी अधिक वर्षों तक गुलाम रहा, परन्तु फिर भी यद्यपि इसका सांस्कृतिक स्वरूप अक्षुण्ण रहा। भारत अपनी प्राचीन समृद्ध एवं नित-नवीन सांस्कृतिक विरासत के कारण आज भी वैदिक, औपनिषदिक, पौराणिक जीवन पद्धति और मूल्यों से कहीं न कहीं जुड़ा हुआ है। भारत की राष्ट्रीयता का आधार राजनैतिक एकता न होकर सांस्कृतिक एकता रही है। मुहम्मद इकबाल ने इसी तथ्य की ओर इंगित करते हुए लिखा था.... Pages:317-318
Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) |