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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
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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.
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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.
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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.
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• 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.
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• 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:319-320 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:319-320
Sarita (VPO, Birohar, Tehsil, Jhajjar, Haryana) |
Pages:321-323 मोनिका (संस्कृत शिक्षिका, कन्या गुरुकुल, पंचगांव, भिवानी, हरियाणा) सत्याहिंसागुणैः श्रेष्ठा विश्वबन्ध्ुत्वशिक्षिका। विश्वशान्तिसुखदात्राी भारतीया हि संस्कृतिः।। संस्कृतिस्तु मनसः आत्मनश्च संस्करणं परिष्करणं च। सम्पूर्वकं करणाद्यर्थकात् कृ धतोः क्तिन् प्रत्ययेन संस्कृतिः शब्दो निष्पद्यते। संस्काराणां अनवरता प्रक्रिया संस्कृतिः अस्ति। सा नाम संस्कृतिः या अज्ञानं व्यपनयति, दोषाञच दूरीकरोति। इत्थं कस्यापि राष्ट्रस्य अविच्छिन्ना विकास परम्परा आचार-विचार-सरणिश्चैव तस्य संस्कृतिः कथ्यते। संस्कृतिरेव मानवहृदयेषु विश्वबन्ध्ुत्व सद्भावनामुत्पाद्य अखिललोककल्याणाय कल्पते। विश्वऽस्मिन् सम्प्रति याः काश्चिदपि संस्कृतयः उपलभ्यन्ते, तासु सर्वासु भारतीयसंस्कृतिः किमप्यपूर्वं वैशिष्ट्यम् आवहति। जगति यदा राष्ट्रान्तरनिवासिनः पशवः इव सर्वज्ञानविहीनाः अवर्तन्त, तदा एव भारतीयाः सर्वासु कलासु सकलासु च विद्यासु परमप्रवीणाः अशोभन्त। अतएव भारतीय संस्कृतिः विश्वस्य प्राचीनतमा संस्कृतिरस्ति, नास्त्यत्रा कश्चिद् विसंवादः। निम्नाघ्किता बिन्दवः भारतीयसंस्कृतेरघ्गभूताः तस्याः वैशिष्ट्यम् समुद्घाटयन्ति। Pages:321-323
मोनिका (संस्कृत शिक्षिका, कन्या गुरुकुल, पंचगांव, भिवानी, हरियाणा) |
Pages:324-326 मोनिका (संस्कृत शिक्षिका, कन्या गुरुकुल, पंचगांव, भिवानी, हरियाणा) वर्तमानसमये पर्यावरणचिन्तनं विश्वसमुदाये स्वकीयां महतीं भूमिकामावहति। यतोहि अद्यत्वे जनाः वैज्ञानिकाः सन्ति। ते कमपि विषयं सम्यक् परिशील्य, सम्परीक्ष्य सर्वतोभावेन हेयोपादेयतां विज्ञायैव स्वीकुर्वन्ति। एदर्थं किन्नाम पर्यावरणमिति चिन्तनीयं वर्तते। पर्यावरणशब्दस्य निष्पत्तिः परि$आ$वृ´्$ल्युट् प्रत्यये कृते सति निष्पद्यते। यदस्मान् परितः आवृणोति, येन वयं परितः आवृतास्तत्पर्यावरणम्। एदत् पर्यावरणं छत्रावत् कार्यं प्रतिपादयति। छत्राभूतं पर्यावरणं मानवशरीरस्यैव न अपितु प्राणिमात्रास्य रक्षां वितनोति। यद्यस्माभिः वर्गीकरणदृष्ट्या विचार्यते तदा पर्यावरणस्य भौतिकप्राकृतिकभेदेन द्विध विभागः कर्तुं शक्यते। भौतिकपर्यावरणं पृथिव्यपतेजोवाय्वाकाश - नामध्ेयेषु प´चमहाभूतेषु विभक्तम्। प´चमहाभूतानां निर्माणं तदीयभूतानां 1/8 अष्टमांशयोजनेन भवति। उक्त´च - Pages:324-326
मोनिका (संस्कृत शिक्षिका, कन्या गुरुकुल, पंचगांव, भिवानी, हरियाणा) |
Pages:327-328 Pardeep Kumar (Haryana Institute of Technology, Bahadurgarh) The story of Animal Farm, when paraphrased, might sound pedantic: It is so simple yet evocative that it also defies narration. The broad outlines of the fable are in the sense of exploitation made known to the animals of Manor Farm by the old Major. But an important thing to remember is that Orwell was very purposely focusing on the individuals involved in the rise to power of the communist government in the USSR and the various contentions and problems within that government. Orwell conceptualized 'democratic Socialism' without social privileges to the leadership; but the revolutionary ruling class of Animal Farm arrogated to themselves prerogatives and entitlements. Orwell`s socialism is rooted not in ideas or dogma, but in the fusion of relationships. The book is not just about power but about how the various people interacted and his view of, for example, Trotsky being driven out because he was in fact too concerned with helping the average person. The theme that one should always keep in mind is that history is bound to repeat itself if one is ignorant to the past. The animals had disregarded their prior knowledge of the events that had occurred and the emotions that conveyed those events, so history was set into the same cycle once again. Never be ignorant to the past, or you can't help yourself in the future. The aesthetic purpose of Animal Farm is substantiated by the style which is the model of good English prose. Animal Farm and Koestler's Darkness at Noon are the two present day works of fiction which critics adulate in the words of Tom Hopkinson. Pages:327-328
Pardeep Kumar (Haryana Institute of Technology, Bahadurgarh) |
Pages:329-330 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) Clear light of Day (1980) is a four-dimensional novel, the fourth dimension being time. This novel deals with the theme of time in relation to eternity, and is inspired by T.S. Eliot's concept of time as outlined in his Four Quartets from which Desai quotes the well known line, “Time the destroyer is time the preserver”, on the last page of the novel. Explaining the theme of her novel, Desai told Sunil Sethi: “My novel is set in old Delhi and records the tremendous changes that a Hindu family goes through since 1947. Basically, my preoccupation was with recording the passage of time : I was trying to write a four-dimensional piece on how a family's life moves backwards and forewords in a period of time. My novel is about time as a destroyer, as a preserver, and about what the bondage of time does to people. I have tried to tunnel under the mundane surface of domesticity.”33 Notwithstanding its philosophical leanings, However, the existential concerns seem to run through in it like an under current of water. Pages:329-330
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:331-332 Pardeep Kumar (Faculty of English and Communication, Haryana Institute of Technology, Haryana) William Shakespeare is a remarkable genius not only of his age, but also for all time. He is the greatest dramatist in the English Literature who is considered next to Sophocles in the world. He was the pioneer Elizabethan dramatist. To approach the subject it will be good without attempting to shorten the path by referring to famous theories of the drama, to start direct from the facts and to collect from them gradually an idea of Shakespearean Tragedy. His earliest plays Love's Labours Lost; Comedy of Errors and Two Gentlemen of Verona, provide the evidence of his entrance in the string society and his knowledge and observation to depict them in the plays. Shakespeare's first plays were his well work and he made a place on the theatre as well as in the next ten years he achieved a prominent place that even two years later his work on plays was exactly like his contemporary playwrights. He was fascinated by the charm and beauty of the little village, Stratford. The Forest of Arden and the old castles of Warwick impressed him. It awoke his imagination power. The natural beauty of this region is reflected in Shakespeare's poetry as his characters show the goodness, the vices, gossip, emotions and prejudices with traditions of the people concerned to him. A Shakespearean tragedy as so far considered may be called a story of exceptional calamity leading to the death of a man in high estate. But it is clearly much more than this, and we have now to regard it from another side. No amount of calamity which merely befell a man, descending from the clouds like lightning, or stealing from the darkness like pestilence, could alone provide the substance of its story. Pages:331-332
Pardeep Kumar (Faculty of English and Communication, Haryana Institute of Technology, Haryana) |
Pages:333-334 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) Dr. Anand is known all over the world for his robust humanism, peasant sensibility, compassion and forthright outlook. It is his keen awareness of human predicament and empathy for the sufferers that propelled him into creative writing. Thus the themes Anand has chosen for his fiction are based on such problems as casteism, poverty exploitation and human suffering caused by a variety of factors:- political, economic, social and cultural. He refuses to accept the traditional approach to interpret suffering. He asserts: “I would no longer live by the dead ideas of traditional philosophies, the ritual of the old regions or by the tame words of the classics” Thus, he always tries to generate in the readers an urgent awareness of the dehumanizing social evils. Anand forcefully attacks evil of all sorts. In 'Untouchable', casteism is the evil. Anand seeks to arouse consciousness and incorporate the philosophy of humanism in his writing. He treats characters with ample compassion and sympathy. His philosophy is akin to European Hellenism. He examines human predicament and suggests “return to natural man” as the solution. Pages:333-334
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:335-337 Ritu Saharan (Department of English, Sai Nath University, Ranchi, Jharkhand) Woolf viewed the writing of To the Lighthouse as grief work which freed her from obsession. Her assessment corresponds to Freud's idea of grief work as freeing the libido from the lost love object. The novel itself, however, describes varieties of grief work which establish some distance between the dead and the living without completely severing the connections. Woolf, like the nerve specialists and psychoanalysts, borrows from traditional mourning ritual for her model of grief practices. The setting of the vacation house offers a retreat from public life and a venue for the visits of family and friends. The community offers each other sympathy and support, though the expression is often tacit due to Woolf's rejection of the conventions of Victorian mourning ritual. She also deviates from tradition by not designating women chief mourners and by not feminizing male mourners. Mr. Ramsay tries to impose the traditional burden of comforter on Lily Briscoe, but she refuses it. Nor is grief pathological in the novel. Cam and James object to their father's selfish grief, but it is clear that this is a generational difference rather than one of mental health. No doctors or therapists need be called in. Pages:335-337
Ritu Saharan (Department of English, Sai Nath University, Ranchi, Jharkhand) |
Pages:338-340 Sangeeta (Department of English, Manohar Memorial College, Fatehabad, Haryana) TAMAS (The Darkness) by Bhisham Sahni has been one of the most controversial works in Indian literature, due to the subject matter it deals with; Communal riots! Tamas is a full-fledged novel on partition. It very effectively captures human tragedy of gigantic proportion. There is a very strong reason for Bhisham Sahni to write a novel especially on partition. Bhisham Sahni was born in Rawalpindi in August 1915. He joined the freedom movement of 1942 and served time in jail, went on to become a district secretary of the Congress. Like his elder brother, the legendary actor Balraj Sahni, Bhisham also studied in Lahore and after completing his Masters in English started a life of commitment to teach in Lahore City, the bastion of social radicalism. But partition completely changed all that. The Sahnis had to migrate to the new India from where even Lahore seemed a foreign and. Pages:338-340
Sangeeta (Department of English, Manohar Memorial College, Fatehabad, Haryana) |
Pages:1-4 Vandana (Department of English, D.A.V. College, Sector-10, Chandigarh) Gurdial Singh called him the Bhisham Pitamah of Hindi literature. Bhisham sahni was born on 8 August 1915 in Rawalpindi-undivided India. He has joined the Quit India Movement of 1942 for country's independence. During partition his Punjabi Hindu family took refuge in Amritsar. He became one of the mainstream writers of Hindi language. His command over local dialects and common languages like Punjabi and Urdu make him more subtle writer of characterization. His short-stories are about common folks' useless labor from ancient to modern times under brutal cog-wheel of socio-economic-political bitterness e.g. Tamas, Kabeera Khara Bazaar Me, Madhvi etc. Tamas can be seen as semi-autobiographical work of Sahni. He said in his autobiography 'Aaj ke Ateet' that As we entered Bhiwandi, I felt as if I had seen the scene in that town somewhere: silence all around, only one or two people on terraces and verandahs, empty streets, as if time had slowed down. As we entered the town, there were one or two tents of the police with policemen sitting outside, in uniform - but some with their caps off, some with loosened belts, as if resting the fatigue of the riot. Here and there, stray dogs meandered around. The pall of silence - people on balconies and terraces seemed like statues - pervaded a kind of desolation. As we moved a little farther, there was a shantytown that seemed to have been attacked mercilessly by the 'brave men'. Distraught people seemed to have run away in a hurry. Utensils were strewn around in houses. Outside a hut, a kettle still sat upon a chulha. Outside another hut was a parrot- cage with the parrot, dead, inside the cage. Clothes and rags lay strewn around here and there as if the fleeing people couldn't decide what to take and what to leave behind. Pages:1-4
Vandana (Department of English, D.A.V. College, Sector-10, Chandigarh) |
Pages:5-7 Montgomery Howwar (Department of Linguistics, Aligarh Muslim University, Aligarh) The current investigated paper is actually related to discourse analysis. As matter of fact, either written or spoken discourse must be stretched in a way that ensures its cohesion via using the cohesive devices. The word “cohesive” is defined in Longman Dictionary of contemporary English as an adjective, connected in a reasonable way to form a whole. Michael Halliday, one of the linguists credited with the development of systemic linguistics and functional grammar, showed a great deal of concern with the Principles of connectivity, which bind a text together and force co-interpretation. To Halliday, a text is viewed as any authentic stretch of written or spoken language. Halliday(1976) opined that cohesion is semantic rather than grammatical. Cohesion; therefore, can be defined as a term used to describe the way in which components of a text are mutually connected either grammatically or lexically. De Beaugrande and Dressler (1981) pointed out that “ surface components depend upon each other according to grammatical forms and conventions, such that cohesion rests upon grammatical dependencies”. To Halliday and Hassan (1976:11), cohesion exists “ where the 590 interpretaion of any item in the discourse requires making reference to some other item in the discourse”. Indeed, these authors have given the most comprehensive and adequate treatment of the subject (cohesion in text) and has become the standard text in this area. Pages:5-7
Montgomery Howwar (Department of Linguistics, Aligarh Muslim University, Aligarh) |
Pages:8-10 Manjeet (Assistant Professor of English, Adarsh Mahila Mahavidyalaya, Bhiwani, Haryana) Narratology first coined by Tzvetan Todorov in 1969, marked the acceleration of structuralism story of narrative with virtually every part of the story analyzed for it, effects within the text Gennet (1980). Narratology in literary analysis continues to be a fruitful field in to the first decade of twenty first century. Narratological analysis examines only the structures of the given text and the combination of the different layers composing the structure. The three dimensional analysis of narrative within the context of narrative relationship is fundamental aspect of Gennet's narrative model. Gennet's distinction between the layers of narrative is in fact, the refinement of the separation between fabula, the 'raw material' that is not shaped in the hands of writer and suzette, the artistic completion of the fabula made by the Russian Formalist. Compared to the previous theories in the field of narrative, the model developed by Gerard Gennet in Narrative Discourse is more systematic and comprehensive. Gennet's theory and methodology is an elaboration on the specific relation possible among the elements of narrative, story and narrating. These interactive relations operate according to three main categories; tense, mood and voice (genette-32). Moreover, Gennet analyses the categories which have not been discussed adequately before, like frequency of events within the text of time, and he differentiates the notion of narration from focalization of his narratological theory. Pages:8-10
Manjeet (Assistant Professor of English, Adarsh Mahila Mahavidyalaya, Bhiwani, Haryana) |
Pages:11-12 J.N. Sharma1 and Meena Rani2 (G.B. Degree College Rohtak, Haryana1 and Department of English, C.M.J. University, Shilong2) The Hairy Ape is a sequel to O'Neill's expressionism which he had ventured earlier in The Emperor Jones. The dramatist has wedded various mythical and symbolic elements to the texture of the play. Eugene O'Neill tried to capture the sad plight of a modern man caught between the promise of the ever evolving material world and his haunting past as a semi-conscious ape in the play The Hairy Ape. The play subtitled as “A Comedy of Ancient and Modern Life in Eight Scenes turned out to be one of the most compelling and pathetic tales of modern man's alienation from society, nature and his own self. O'Neill saw no salvation for modern man, a senseless brute who continues fruitlessly to be brutalised by machinery and industry. If man is essentially still an ape he has also become a machine and, in self-delusion, thinks that the elemental primitive force which he has retained and converted into steel can be an adequate end in itself. He enjoys a false sense of belonging to something, of being a part of steel and of machinery, where as actually he is their slave. In those instances where he is not enslaved, he has lost his vitality an become completely enervated a waste product inheritating the acquired trait of the by-product, wealth, but none of the energy, none of the strength of the steel that made it. Pages:11-12
J.N. Sharma1 and Meena Rani2 (G.B. Degree College Rohtak, Haryana1 and Department of English, C.M.J… |
Pages:13-15 Ranveer Singh (Department of English, M.D. University, Rohtak, Haryana) Girish Karnad, one of the most outstanding playwrights, deals with modern themes. In Naga-Mandala, there is an artistic blend of myths, rituals and folktales to depict the condition of woman in patriarchal social set-up. It is well known that sex is the creation of God and it is essential that there must be sexual differences for procreation. But gender is not something pre-established. It is a socio-cultural construct. The disparity between male and female becomes more critical in a traditional patriarchal society. The word patriarchy literally means, “The rule of the father or the 'patriarch', and originally it was used to describe a specific type of 'male-dominated family'- the large household of the patriarch which included women, junior men, children,slaves and domestic servants all under the rule of this dominant male. Now it is used more generally to refer to male domination, to the power relationships by which men dominate women,and to characterize a system whereby women are kept subordinate in a number of ways.” (Kamla 3) This power by male is institutionalized and men's superiority is asserted as natural which women too have accepted. All the social institutions, including family, are designed to reduce woman to the other of man and deprive her of her freedom to live her own authentic life. This results in the denial of reciprocal relationship and harmony between the two sexes. Karnad's play is an incisive critique of this unequal relationship bringing out the predicament of a woman in patriarchal social structure. Pages:13-15
Ranveer Singh (Department of English, M.D. University, Rohtak, Haryana) |
Pages:16-18 Sudhir Kumar (Department of English, Govt. College, Birohar, Jhajjar, Haryana) Between certain things comparisons are established through symbolism as a literary device. The comparison becomes meaningful and vivid when an abstract idea is concretized through a physical object. With Augustans temperament and their attitude to the problem of writing poetry. Eliot was helped to formulate his traditionalism that he has much in common. Arthur Symon's book 'The Symbolist Movement In Literature' stimulated his interest in the poetry of the fresh symbolists, when he read it round the year 1908. Through the use of words and lines written by writers of different countries and times, symbolism as a device brings places and events and history and legends together. Through poetic shorthand Eliot compresses his ideas and impressions. After all, throughout the ages human experience is practically one and same. Fashion may change and modes may alter, inspite of passage of time human nature essentially remains unchanged. Pages:16-18
Sudhir Kumar (Department of English, Govt. College, Birohar, Jhajjar, Haryana) |
Pages:19-20 J.N. Sharma1 and Meena Rani2 (G.B. Degree College Rohtak, Haryana1 and Department of English, C.M.J. University, Shilong2) Eugene O'Neill in his urge to find a suitable form of dramaturgy and experimentation with different techniques and forms he used realism and naturalism in his early plays. But as he matured, he resorted to the use of full-scale symbolism and expressionism to express the psychological terrors and obsessions of his characters. Expressionism was a movement that began in Germany before World War I, especially from 1910-24. The term 'Expressionism' was coined by L. Vauxcelles. In literature, it was a revolt against 'realism'. It aimed at the distortion of the phenotypic reality. This was achieved by the fragmentation of objects and the breaking up of time sequences. Originally, the movement was confined to the visual arts and later on it widened its periphery to literature and other arts. The expressionists departed from a mere realistic depiction of life, by incorporating in their art tense and emotionally. chaotic states of mind. But sometimes this expression may cross its limitations and delineate the aweful plight of man pitted against an apathetic and callous Cosmos or Universe, and even an insouciant Providence. Expressionism, unlike impressionism is the subjective account of a subjective perception. Thematically, the expressionist writer is concerned with Man, God and Destiny, and the inter relationship among these at the personal and the subjective plane of existence. His sole concern is the soul of man, which he represents through external symbols and he substitutes symbolic types for individual human begins. Chaotic hysterical and apparently meaningless ideas are illuminatingly ventilated through symbols, images and metaphors. This is revealed through the character of Brutus Jones who becomes the spokesman of the black slaves brought for auction. Pages:19-20
J.N. Sharma1 and Meena Rani2 (G.B. Degree College Rohtak, Haryana1 and Department of English, C.M.J… |
Pages:21-25 Sharmila (Department of English, O. P. Jindal Modern School, Hisar, Haryana) It was during last few decades that woman assumed an important place in our literature. Probably the chief reason for this interesting phenomenon lays in the fact that woman was for the first time given some slight chance of education, of entering into the intellectual life of the race; and, as is always the case when woman is given anything like a fair opportunity, she responded magnificently. Women embrace a different approach to living, which value relations more than self-enhancement. Women, seeing themselves in relation to others, merge and organize their selves in the service of home, husband and children, resting their senses of identity and value on it. They literally devote their lives for others. Just because they bear children, the responsibility of hearth and home falls on them. This blocks their way of self-enhancement. Many women rebel against the patriarchal set up which marginalize their position. They step into new roles, feeling uneasy in the identity handed over to them, where their whole existence is seen in relation to man. As they strive for a new independent identity for themselves, they have moments of uncertainty, insecurity, diffidence and sometime guilt also. Some of them are able to overcome the crises, while some succumb to the lashes of conventional society. However, they, in search of their new self, transcend their given identity. Torn between the traditional feminine and the modern feminist, they undergo psychological turmoil and seem unhappy. How far these women succeed in reforming the image of the 'new women' and in gaining happiness? Pages:21-25
Sharmila (Department of English, O. P. Jindal Modern School, Hisar, Haryana) |
Pages:26-28 Montgomery Howwar (Department of Linguistics, Aligarh Muslim University, Aligarh) When discussing either the communicative competence or the linguistic competence, views of two writers should be taken into consideration; Chomsky and Hymes'. The former adopted the linguistic theory arguing that it is primarily concerned with the ideal speaker-listener in a completely homogeneous speech community while the latter approached the elements of language from socio-cultural point of view. There is a continual debate around communicative and linguistic competences and it seems that the communicative competence has become superior to the linguistic one since Hymes and his followers' opposition to Chomsky's linguistic competence. This opposition has been adopted by those who seek new directions towards a communicative era. Those who adopted Hymes' new effect like (Munby 1978, p. 1), for example, in his development of "Communicative syllabus design" refers to Hymes` effect both on his work and the foreign and second language teaching field as “ The upsurge of interest in the content of the language syllabus, following the concern with communicative competence generated by Dell Hymes, reflects inter alia a feeling that we ought to know much more about what should be taught and learned if a non native person is to be communicatively competent in English”. Furthermore, as a means of achieving the communicative goal of a language, teachers focus on fluency and ignore the accuracy. Pages:26-28
Montgomery Howwar (Department of Linguistics, Aligarh Muslim University, Aligarh) |
Pages:29-30 Nalin Malik (Assistant B.R.C., Hansi-I, Hisar, Haryana) Seth Chhaju Ram, was one of the eminent gentlemen of nineteenth and twentieth centuries who rendered yeoman's services in the making of modern India. He belonged to the business world by profession and peasant stock by birth. He developed an integrated and tolerant personality who distinguished himself in Haryana (Punjab) as well as in Calcutta, during his life time. With steady and constant hard work, he reached the zenith of his life as a man of rich qualities. Starting his life from a scratch, he reached the pinnacle of his life in the field of business and social welfare activities. Undoubtedly his contribution made towards the betterment of society was monumental. Chhaju Ram was born in November 1865 in an ordinary Jat peasant family of village Alakhpura in the then Tehsil Hansi of Hisar district1 (now in Bawani Khera tehsil of Bhiwani district). Pages:29-30
Nalin Malik (Assistant B.R.C., Hansi-I, Hisar, Haryana) |
Pages:31-33 Ranveer Singh and Raj kumar (Department of English, M.D. University, Rohtak, Haryana and Department of English, K.U.K., Haryana) Since the twentieth century there have been a large number of theories and concepts, proposing a large number of diverse and varied forms of literary interpretations. As it is often said that literature is the product of society in which it has been produced, similarly one can say that a critical theory is also a product of social conditions in which it is produced. So during the colonialization and after decolonization the theory of post colonialism developed under the social circumstances of the various European colonies or broadly speaking under the social super structure. The post colonial theory may be defined as “the critical analysis of history, cultural literature and modes of various discourses that are specific” to European colonizers (Abrams236). These studies have focused especially on the former colonies of the European nations in Africa, Asia and the Caribbean Island. Pages:31-33
Ranveer Singh and Raj kumar (Department of English, M.D. University, Rohtak, Haryana and Department of… |
Pages:34-36 Saroj Bala (Sai Nath University, Ranchi) डा0 सूर्यनारायण द्विवेदी द्वारा रचित उपन्यास सहित्य में ‘आशाशिशु’ का प्रमुख स्थान है। इस उपन्यास का प्रकाशन 1999 में वाराणसी में श्री श्री राधा प्रकाशन संस्थान से हुआ था। आलोच्य उपन्यास में नारी का चित्रण विभिन्न रूपों में हुआ है। इस उपन्यास का प्रमुख कथानक देवर्शि नारद के द्वितीय जन्म पर आधारित है। ‘आशाशिशु’ उपन्यास में नारद (अंशुल) की माता उपयमा व मौसी चीमा का नारी चित्रण प्रमुख रूप से हुआ है। तिलोतमा, उर्वसी मेनका आदि स्वर्ग अपसराओं की सुन्दरता का वर्णन भी यन्त्र-तन्त्र हुआ है। उपन्यास के तत्वो में चरित्र-चित्रण का स्र्वाधिक महत्व है। यदि कथानक उपन्यास का मेरूदंड है तो चरित्र-चित्रण उसका प्राण है। पात्र सामान्यतः मनुश्य ही होते है। उपन्यासकार स्वंय भी मनुश्य ही होता है इस कारण उसमें और उसके पात्रों में अद्भुत साम्य होता है। उपन्यास का कोई पात्र तभी यथार्थ जगत् का पात्र प्रतीत हो सकता है जबकि वह उन नियमों और सिद्वंातों के अनुसार जीता है उपन्यास का कोई पात्र तभी वास्तविक प्रतीत होगा, जबकि उपन्यासकार उसके सम्बंध में सब कुछ जानता होगा। श्उपन्यासकार अपनी रचना में पात्रों की खोज करता है, वह उनका निर्माण नहीं करता। जीवन और जगत् के प्रति उसका जैसा दृश्टिकोण होता है और जीवन और जगत् की उसकी जैसी अनुभूति होती है, उसके पात्र उसी के आधार पर रूप पाते है। उपन्यासकार को यह बात सदैव ध्यान में रखनी चहिए कि वह चाहे जिस प्रकार के पात्र प्रस्तुत करे, किन्तु सजीव बनाए रखने का प्रयत्न करे, जिससे ऐसा न प्रतीत हो कि कोई पात्र-विशेश जीवन और जगत के यर्थाथ से भिन्न है।‘(1) Purchase PDF Purchase hard copy Pages:34-36
Saroj Bala (Sai Nath University, Ranchi) |
Pages:37-39 मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) वेदानां स्वरूपम् - (विद् घञ्, अच् वा) अयं विद् ज्ञाने इति धतोः घञि प्रत्यये कृते वेद इति रूपं निष्पद्यते। ‘वेदनं वेदः’ ‘वेद्यते अनेन इति वेदः’ इति धतो भावे करणे वा घञि। धतुपाठे बहवः ‘विद्’ धतवः पठिताः सन्ति। यथा-सत्तायां विद्यते ज्ञाने वेत्ति वित्ते विचारणे। विन्दते विन्दति प्राप्तौ श्यन् लुक् श्नम् शेषु चव कमात्।। विद्-सत्तायाम्, विद्लृ-लाभे, विद् विचारणे, विद् चेतनाख्यान -निवासेषु वेदेषु एव एतेषां सर्वेषामपि धतूनां तेषामर्थानां च सार्थकता दृष्टिपथमायाति। अत एव स्वामिदयानन्दसरस्वतीमहो- दयेन ऋग्वेदादिभाष्यभूमिकायां या वेदशब्दस्य व्युत्पत्तिः प्रदर्शिता सा समीचीना विदन्ति, जानन्ति, विद्यन्ते, भवन्ति, विन्दन्ति अथवा विन्दन्ते लभन्ते, विचारयन्ति सर्वे मनुष्याः सर्वाः सत्यविद्याः यैः येषु वा तथा विद्वांसश्च भवन्ति ते वेदाः इति। वेद्यन्ते ज्ञायन्ते, लभ्यन्ते वा ध्र्मादिपुरुषार्थ एभिरिति वेदाः सायणा- चार्येण वेदशब्दस्य व्युत्पत्तिं कुर्वता लिखितम्-इष्टप्राप्त्य- निष्टपरिहा- रयोरलौकिकमुपायं यो ग्रन्थो वेदयति सा वेदः। अत एव महर्षिणा सायणेन कृष्णयजुर्वेदीयभाष्यभूमिकायां परिभाषा- रूपमिदं कथितम्-प्रत्यक्षेणानुमित्या वा यस्तूपत्यो न विद्यते। एवं विदन्ति वेदेन तस्माद् वेदस्य वेदता।। (कृ.यजु.भा.भू.) सर्वमतावलम्बिनः प्राच्याः पाश्चात्याः च विद्वांसः एकमत्या स्वीकुर्वन्ति यद् वेदाः अखिलविद्यानाम् आधरभूता विराजन्ते। अत एव एतेषां अपौरुषेयत्वं सुप्रसिद्धम्। वेदानां महत्त्वम्- विश्वसाहित्यस्य प्राचीनतमाः ग्रन्थाः वेदाः सन्ति। शास्त्रां मुख्यतः पुरुषार्थचतुष्टयं प्रतिपादयति। तेषु सर्वेषु पुरुषार्थेषु मनुष्यजीवनस्य मार्गप्रवर्तकरूपेण तथा नियंत्राकरूपेण धर्मस्य प्राधन्यं स्वीक्रियते। जीवनस्य सर्वेषु कालेषु धर्मस्य प्रभावः साक्षात् परम्परया वा विद्यते। धर्मेणोपार्जितोऽर्थः मनुष्यं सर्वविद्यानन्देन संयोज्य परिवर्तिजीवनमपि सुखमयं करोति धर्मशास्त्राम्। धर्मशास्त्राणि पुराणानि अपि शास्त्राकोटावन्तर्भूतानि भवन्ति। धर्मशास्त्राणि एव स्मृतय इति व्यवहिृयन्ते। वेदे विद्यमानाः धर्माः पुनः धर्मशास्त्रोषु स्मृताः। अतस्ताः स्मृतयः ख्याताः। मनुस्मृतिः समाजशास्- त्रास्य अद्वितीया कृतिरस्ति मन्वत्रिविष्णहारीतादि स्मृतयः विंशत्यः सन्ति। देवल-चन्द्रायण-कपिलादिभिश्च विरचिताः स्मृतयः प चाशत् सन्ति। आहत्य सप्ततिः स्मृतयस्सन्ति। मनुस्मृत्यादिग्रन्थेषु धर्मविषयक- चर्चा आध्यात्मिकचर्चाकारणात् धर्मशास्त्राण्यपि शास्त्रारूपेण गृहीतानि भवन्ति। अमरसिंहस्तु विश्वधर्मं धरयति, जनाः धर्मं धरयन्ति धर्मशब्दं व्युत्पादितवान्। मेदनी-हेमकोषयोस्तु ‘पुण्यार्थे धर्मशब्दः प्रयुक्तः’। विद्व˜िः सेवितः स˜िर्नित्यमद्वेषरागिभिः। हृदयेनाभ्यनुज्ञातो यो धर्मस्तं निबोधत।। (मनु. 2/1) Pages:37-39
मोनिका (संस्कृत-शिक्षिका, कन्या गुरुकुल, पंचगाँव, भिवानी, हरियाणा) |
Pages:7-8 Mandeep Kaur (Department of English, C.D.L.U. Sirsa, Haryana) Mandeep Kaur (Department of English, C.D.L.U. Sirsa, Haryana) Anita Desai is an Indian novelist and short story writer. She is known for her sensitive portrayal of the inner feelings of her female characters. Many of Anita Desai's novels explore tensions between family members and the alienation of middle-class women. In her later novels, Anita Desai wrote on varied themes such as the demise of traditions and Western stereotypical views of India. Mrs. Anita Desai adds a new dimension to the Indian English novel by primarily exploring the sensibility and the inner working of the minds of her characters. Pages:7-8
Mandeep Kaur (Department of English, C.D.L.U. Sirsa, Haryana)
Mandeep Kaur (Department of English, C.D.L.U. Sirsa, Haryana) |
Pages:37-38 Kailash Chander (Research Scholar, Dravidian University Kuppam, Andhra Pradesh) Born in 1815, at Keppel street, Russel Square, and dead in 1882, Trollope, just after having completed his basic education, joined as a clerk in St. Martin's Grand where he was utterly impecunious, beginning to fall grievously into debt. He was asked by one of his uncles, a clerk in the war office, what goal he should like the best for his future life. He replied that he would like to be a Member of Parliament. The uncle, who was give to sarcasm, rejoined that, as far as he had known, few clerks in the post office had become a Member of Parliament. Trollope thought that it was the remembrance of this jeer which stirred him up to look for a constituency as soon as he had made himself capable of holding one by leaving the public service. Pages:37-38
Kailash Chander (Research Scholar, Dravidian University Kuppam, Andhra Pradesh) |
Pages:39-40 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) Arun Joshi has used various myths, legends and archetypes to suggest the value of an anthentic life, faith and right action. The City and The River is a political novel . It reflects Indian reality. The canvas of The City and The River is very vast and encompasses within its range time God, Man and Nature. The doctrine of Karma tells us that man's final growth rests with himself because his future is not pre-determined . It is the will of God according to which the world runs. A person can reach salvation in life only by profound belief in God and by following the righteous course of living. The novel explores. The very foundations of faith and right action. The significance of God to man is shown by The Great Hermit and he affirms God as “The highest Truth”. The novel records the gloomy story that the Great Yogeshwara recounts to a disciple, the Nameless One, in order to explain who he is to find the self's identity. At deeper level, this novel is also an allegory to Indian History. It is a study of existential predicament of its prominent characters. Pages:39-40
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:41-42 Ashish Sangwan (Independent Research Scholar in English, 621, Sector-14, Rohtak, Haryana) Dalit literature is not simply literature. It is associated with a movement to bring about change. Dalit literature as a nomenclature may be traced to the first Dalit Literary Conference in 1958. After centuries of darkness and suffering, the Dalits have begun voicing their claims for a just heritage and space in society. Having found their cultural awakening their own spiritual universe, literature and their own aesthetics, the Dalits have started to question and challenge all the values and declared their writing as 'Resistant Literature'. My purpose is to study the oppression and society of that time in the works Om Prakash Balmiki, Praveen Gadhvi and Bema. They can be seen standing up against subjugation, humiliation and atrocities and singing of the drawn of a new life. The possibility of their social-cultural and political emancipation led to a host of publications dealing mainly with the Dalit situation in India as well as a parallel body of literature called Dalit Consciousness which has come to occupy a niche in the body of Indian Literary expression. Dalit literature is gaining space as a literary genre because of its aesthetic quality, deepest life experiences and the unforgettable historic notions. Pages:41-42
Ashish Sangwan (Independent Research Scholar in English, 621, Sector-14, Rohtak, Haryana) |
Pages:43-44 Kailash Chander (Research Scholar, Dravidian University Kuppam, Andhra Pradesh) It has been usual for some years now to group together “Can You Forgive Her”? “Phiness Finn”, “The Eustace Diamonds”, “Phiness-Redux”, “The Prime Minister”, and “The Duke's Children” under the heading of the Political or Parliamentary Novels or, more recently, the Palliser Novels. And yet Trollope never made this grouping himself. Indeed, the promotion of the six into a separate category occurred long after his death. In 'Anthony Trollope : A Commentary”, Micheal Sadleir Listed the six together as the Political Novels. Although the division of the novels was largely his own, it derived in part from a compilation by Spence Nichols in the Significance of Anthony Trollope, Nichols, in turn, had accepted the classification made by Speare, who discussed the six novels together in his book on “The Political Novels”. Speare however, refused to accept “Can You Forgive Her? as a genuine part of the series.1 He referred his readers to T.H.S. Escott, who dealt with the novels together as political in tone and focus but never actually gave them any subsuming collective name. nevertheless Dodd, Mead & Company reissued the six novels in various editions between 1893 and 1928 with the words “The Parliamentary Novels” on the spine. More recently, in an Introduction to “Can You Forgive Her'? Sadleir proposed that “Pallisar Novels” would be a more appropriate term than any of the others, the term gained acceptance, so that when in 1950 the Oxford University Press began publishing its “Illustrated Trollope” edition it substituted the term “Palliser Novels” for the more usual “Parliamentary Novels. “The six novels have recently been reissued in paperback by Oxford once again as “The Palliser Novels”. Pages:43-44
Kailash Chander (Research Scholar, Dravidian University Kuppam, Andhra Pradesh) |
Pages:45-47 Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) The language word itself comes from the Latin; 'Lingua' and its original meaning is that 'which is produced with the tongue'. Language is a media for communication. It is a well-known fact that communication is impossible in the absence of the language. Language is a verbal medium for expression or communicating ideas, feelings experiences and realizations. It requires four basic skill-speaking, writing, reading and listening. It is one of the unique possessions of man. Infact it is language which distinguishes a man from an animal. Without language we cannot express ourselves to others. It is language which provides us an outlet for our feelings, ideas, experiences or whatever is in our mind. Man is a social being and he wants to convey his own views and ideas to others. It is used for verbal interaction. It means that language does not exist in a vacuum. Infact, it gives rise to society and the society in turn reshapes and remodels the language according to its needs and desires. Both the language and society are deeply related with each other. Human society is unthinkable without language. Language is of two kinds, verbal language and non-verbal language. Verbal language is used for expressing ideas and experiences. Non-verbal language is also known as body language. The realizations of person are expressed through body language rather then verbal language. It is the facial expressions language consists of words which produce meaningful sound. Phonemes and morphemes are two important aspects of any verbal language. The words have their definite structure (morphemes) and create meaningful sound to communicate ideas and experiences. Language is a divine gift of God to man only. So it is an integral part of human life. It is primarily an instrument of communication among human beings in a communication. Actually language works as a soul for communicative purposes. Without this human society cannot exi9st. Language emerges from meaningful sounds. It includes all those verbal actions of human beings that are related to communication of ideas. Pages:45-47
Kamal Rani (Department of English, Vaish College, Rohtak, Haryana) |
Pages:48-49 Monika Choudhry (Tikaram College of Education, Sonipat, Haryana) “Whence comest thou and whither goes thou? How did thy cause begin” …………..” (The Trimph of Life, P.B. Shelley) Artless, unassuming, dedicated to self-expression more than balance, restraint, clarity and simplicity is what marks the arrival of Romanticism or Romantic Regeneration after the French Revolution. What was dark and uncouth for a poet such as Pope was a rich site of mystery and meaning for Coleridge. Uprightness, Generosity, Tenderness of Heart, Sensuality, Obstinacy (extreme), Irritability, Infidelity, Imagination were the most striking emotions of the Romanticism. Pages:48-49
Monika Choudhry (Tikaram College of Education, Sonipat, Haryana) |
Pages:50-51 Amandeep Kaur (Department of English, Monad University, Hapur, UP) Anita Desai undoubtedly holds a prominent position among the contemporary writers of Indo-Anglican fiction. She is bold and experimental novelist with a new sense and vibrant richness. Much attention is given to the emotional crisis of her protagonists who live in a chaotic society. She delves deep to find out the factors responsible for such a despair and attempt to suggest solutions to overcome it. She is deeply fascinated in exploring the social structure through the central characters in her novels. She is a minute observer of the society existing around her, perceiving everything minutely and delicately so that the situations can be presented in a poetic style. Pages:50-51
Amandeep Kaur (Department of English, Monad University, Hapur, UP) |
Pages:52-55 Archana Dahiya and Itika Dahiya (Department of English and Foreign Languages, Maharshi Dayanand University, Rohtak) Literature is a reflection of society that tends to exhibit a full panoramic view of the socio-economic and political factors and problems of a particular society. A cause-and-effect relationship exists between the society and its literature. The social-minded writers usually write about their respective societies reflecting the socio-cultural factors and problems in order to bring some changes in their existing social system or set-up. A major stock of Indian English fiction focused on portraying the realistic aspects of society whether they may be sweet or horrid with the sole aim of inspiring the humanity in general to wake up and take remedial measures to sort out the problems as depicted by them. According to Jainender Kumar Jain, “literature was like a mirror, reflecting society as it was, now it has become something which, while it depicts the realities of society, is not much bothered about flattering it and is more concerned about striking a blow at it, and in this way, compels it to move forward” (135). Pages:52-55
Archana Dahiya and Itika Dahiya (Department of English and Foreign Languages, Maharshi Dayanand University, Rohtak) |
Pages:56-57 Amandeep Kaur (Department of English, Monad University, Hapur, UP) A sensitive and conscious writer like Anita Desai seems to grapple with the identity crisis which arises out of ill-matched marriages in her works. She employs her writings as a vehicle to probe into women's lives and experiences. Although she is preoccupied with the theme of incompatible marital couples yet we come across different kinds of women characters many studies have come out on the subject. Many critics have address themselves to the theme of broken marriage and ill-matched couples in her novels butthis does not mean that her exploration of feminine psyche ends here. Besides the hypersensitive types verging on neuroticism, we also have several other kinds. Such characters may be minor ones in her novels but they represent woman's mind and psyche in its varied moods and nuances. Pages:56-57
Amandeep Kaur (Department of English, Monad University, Hapur, UP) |
Pages:58-61 Vandana Beniwal and Itika Dahiya (Department of English and Foreign Languages, MaharshiDayanand University, Rohtak, Haryana) Indian mythology presents completely opposite mystical images of woman one is that of the almighty but fierce and verocious, Goddess Durga and another is of Goddess Lakshmi, the symbol of a docile woman who is shown as sitting near the feet of Lord Vishnu, serving 'Him' wholeheartedly. The history of Indian society proves that the second image is more near to reality. Our society allows no individuality to a woman. She has no 'self' or an entity of her own. A woman is either a daughter, a sister, a wife, a daughter-in-law, a mother or is nothing which means that a woman is not a woman per se. All of these identities of a woman are accorded to her by this patriarchal society with reference to man. She is no better than an 'Object' or the 'Other' which a man deems essential for the realization of his own position as a 'Subject'. The Indian society embedded in patriarchal beliefs assumes that woman has been created to satisfy the ego and lust of man. Pages:58-61
Vandana Beniwal and Itika Dahiya (Department of English and Foreign Languages, MaharshiDayanand University, Rohtak, Haryana) |
Pages:62-63 Jyotsna (Department of English, G.G.S.S.S., Kiloi) Who is mouthpiece of an age? Obviously a writer no single writer remains uninfluenced by the main events and great personalities of his time. Undeniably those conscious and unconscious urges of a society, which are seeking outward manifestations are subtly expressed by literature. The literature for being sensitive in nature draws nourishment from diverse sources including politics war and contemporary and historical events. Every writer gives an outlet to the fears, emotions beliefs, customs weaknesses, vices, morality, hopes, aspirations, frivolities and enterprises of that particular ear in which he lives and writers and indeed is called the representative of his time. Being a sensitive and conscious artist, Hemingway's literature is no exception to it. Ernest Miller Hemingway was considered to be one of the most writer in American literature. Pages:62-63
Jyotsna (Department of English, G.G.S.S.S., Kiloi) |
Pages:64-66 Parvir Kumar (Department English, Jat College, Rohtak, Haryana) Sahi Tharoor's has written, The Great Indian Novel, in 1989. It is his maiden work of fiction, gave him fame when it got published. In this novel, he attaches fiction with politics and myth to reality in a masterful way. It vastly entertains, yet broadens the reader's understanding of India's political culture and history. He presents the real and colourful history of 20th century Indian politics with the great Hindu epic The Mahabharata in a suspicious tone that leaves the need gasping at his boldness. He blends poetry and prose in a style that helps him shift from serious and sublime moods to the highly ridiculous. Tharoor makes fun of both the British and Indians in the novel. He says that nobody is above comment and there is no problem in identifying the characters he parodies from the era of India's independence struggle and the partition of Pakistan. There are also profound and poignant lessons about the Indian experience that can be applied to people and nations across the globe. There is no clearcut demarcation between myth, history and reality. The whole novel is like a rich tapestry with the reality of Indian politics and history woven together with the epic and mythical threads of The Mahabaratha. Pages:64-66
Parvir Kumar (Department English, Jat College, Rohtak, Haryana) |
Pages:67-68 Pardeep Sharma and R.M. Jha (Research Scholar, Monad University, Hapur, UP, and Asst. Prof.HIT Bahadurgarh and B.K. Birla Institute of Engg & Tech., Pilani, Rajasthan) The Catholic novel is concerned with questions that arise from the Catholic religion and presents in concrete terms the different temptations that rise for all men. The renewed interest in Catholic fiction has brought with it a perplexing question for the Catholic novelist that is not faced by the non-Catholic writer how to effectively portray the evil in today's world without settling for a simple portrayal. The question takes on added meaning when a definition is sought for the Catholic artist's work. What is a Catholic novel? The definition of the ideal Catholic novel is as elusive as the definition of beauty. Whatever its definition, it is a strong voice in modern literature that more and more brings Catholicism before a greater number of people than has been done by any other means of communication throughout the Church's history. Pages:67-68
Pardeep Sharma and R.M. Jha (Research Scholar, Monad University, Hapur, UP, and Asst. Prof.HIT Bahadurgarh… |
Pages:69-71 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) आशाशिशु’ उपन्यास के रचनाकार-डा.सूर्यनारायण द्धिवेदी हैं इस उपन्यास का प्रकाशन श्री श्री राधा प्रकाशन, वाराणसी से सन् 1999 इसवी में हुआ था। इसकी कथा देवर्शि नारद के पौराणिक चरित्र से जुडी हुई है। देवर्शि नारद का चरित्र प्रायः एक मनोरंजक पात्र के रुप में लोक के सामने आया है, पर वास्तव में देवर्शि नारद एक ऐसे चरित्र की संज्ञा हैं जिसमें समस्त विधाओं को अधिगत करने के पश्चात् अपनी साधना एवं उपासना के आधार पर विश्व के स्रश्टा, रक्षक एवं संहर्ता तीनों शक्तियों की अनुकम्पा पा ली थी। अतएव आदिकाल से ब्रह्य,विश्णु एवं शिव के अतयन्त प्रिय पात्रों में हो गए। देवर्शि नारद के श्नारदपुराण श्के अनुसार तीन जन्म हुए। पहले जन्म में वे उपवर्हण नाम के गन्धर्व थे।जहां से शापवश उन्हें मृत्युलोक में एक दासी पुत्र होना पडा। तीेसरे जन्म में वे साक्षात् ब्रह्य के पुत्र हुए। जहां उन्होंने विविध चरित्रों का समुद्धार कर्म किया। Pages:69-71
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:72-75 कामना कौशिक (हिन्दी विभाग, सी.एम.के.नैशनल पी.जी. गल्र्ज महाविद्यालय, सिरसा) कहानी निस्संदेह साहित्य का एक ऐसा अत्यधिक कोमल अंग है, जो अत्यन्त सम्वेदनशील कलाकार की अपेक्षा करती है। जितना कथाकार सतर्क एवं सजीव होगा, उतना ही वह कहानी में संचेतना और संश्लिष्टता का चित्रण कर सकेगा। कहानी किसी एक परिस्थिति या मनः स्थिति पर कई कोणों से आलोक फेंकती हुई सामान्यतः भाव विकास और चरम सीमा के शिल्प को अपनाती है। कथा में विषय की प्रधानता रहती है । काव्य के आस्वादन के दो माध्यम है -श्रवण एवं दर्शन । कहानी श्रवण का अंग है अर्थात् जिसको पढ़कर अथवा सुनकर मनोरंजन किया जा सकता है । Pages:72-75
कामना कौशिक (हिन्दी विभाग, सी.एम.के.नैशनल पी.जी. गल्र्ज महाविद्यालय, सिरसा) |
Pages:76-79 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) ‘अभिशप्त’ शब्द का अर्थ होता है शापित, शापग्रस्त।’1 जिस पर मिथ्या आरोप किया गया है। उसे अभिशप्त कहा जाता है। यह संस्कृत का शब्द है। किसी जीव द्वारा शाप से ग्रसित जीवन जीना ही शापग्रस्त या अभिशप्त जीवन कहलाता है। यह जीव के कर्मो का फल होता है। सूर्यनारायण द्विवेदी जी के उपन्यास अशाशिशु एवं आत्रेयी अपाला, दोनो में अभिशप्त जीवन की कथा है। आशाशिशु में नारद मुनि के द्वितीय जन्म की अभिशप्त कथा है। पहले जन्म में वे उपवर्हण नाम के गन्धर्व थे। स्वर्ग में देवताओं की सभा में अपमानित होकर, अभिशप्त होकर उनकी आत्मा का दूसरा जन्म होता है। इसी दूसरे जन्म की कहानी को ही लेखक ने अपने उपन्यास का कथ्य बनाया है। स्वर्ग में स्वर्ग कन्याएं मेनका, उर्वशी, तिलोतमा आदि है। उपवर्हण व तिलोतमा में प्रेम उत्पन्न हो जाता है। उनका प्रेम सात्विक होता है पर स्वर्ग सभा में उसे विलासिता का नाम दे दिया जाता है तथा उपवर्हण को शाप से ग्रसित किया जाता है। उसका दूसरा जन्म एक वनचरी उपयमा से, एक अलौकिक घटना से होता है। उपयमा समझ नही पाती है कि कैसे गर्भवती हो गई। बाद में शिशु के साथ भी अनेक घटनाएं घटती है। कभी एक सफेद रंग का सांप उनके मुख पर छाया करता है बाद में वह गायब हो जाता है। स्वर्ग कन्याएं उसे देखने व मिलने आती हैं। उनकी बातों से ही उपवर्हण के अभिशप्त होने का पता चलता है। लेखक लिखता है- ‘ उर्वशी ने तिलोतमा की ओर उन्मुख होकर कहा-‘ पहचानती हो देवी तिलोतमा?उपवर्हण की ऊँगलियों के द्वारा झंकृत वीणा के स्वर से नदंन वन में देवसभा में देखते-देखते समा बंध जाता था। मुझे याद आते हैं वे क्षण जब तू उपवर्हण की बजाई गई वीणा से इतनी प्रभावित हो गई थी की आपा खो बैठी थी, जिसे देखकर हम लोगो ने उपवर्हण और तुम्हारे बीच विलासिता के सम्बंध की बात प्रसारित की थी।’2 Pages:76-79
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:80-81 नीलम रानी (मकड़ाना, भिवानी, हरियाणा) ‘उत्तररामचरितम्’ महाकवि भवभूति द्वारा रचित संस्कृत साहित्य की सर्वश्रेष्ठ कृत्तियों में से एक है। यहाँ प्रस्तुत शोध-पत्रा में ‘उत्तररामचरितम्’ में प्रयुक्त कृदन्त क्रियारूपों के सम्बन्ध में विस्तार से विचार किया जा रहा है। संस्कृत भाषा के क्रियारूपों को दो वर्गो में विभक्त किया जा सकता है। तिड़न्त क्रियारूप तथा कृदन्त क्रियारूप। ये दोनों प्रकार के क्रियारूप दो सार्थक इकाईयों के योग से निष्पन्न होते है। संस्कृत भाषा में क्रिया के रूप में प्रयोग में लाये जाने वाले दूसरे प्रकार के क्रिया पदों को कृदन्त कहते है। धतु मेें जिस प्रत्यय को जोड़कर संज्ञा, विशेषण अथवा अव्यय बनता है, उसको कृत प्रत्यय कहते है और इसके द्वारा जो शब्द सिद्ध होता है उसको कृदन्त कहते है। इनका प्रयोग काल, लिंग वचन तथा वाच्य के अनुसार होता है। विशेषण क्रियापदों के इन रूपों का वर्गीकरण निम्न आधर पर किया जाता हैः- Pages:80-81
नीलम रानी (मकड़ाना, भिवानी, हरियाणा) |
Pages:82-84 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) ‘पुराण का शाब्दिक अर्थ पुरातन, प्राचीन, प्राचीनकाल की कोई घटना, अतीतकाल की कथा, धार्मिक अख्यान हेता है।’ डा0 सूर्यनारायण जी के उपन्यासों का आधार पौराणिक है। पात्र वैदिककालिन भी ठीक वैसा ही है। अलौकिक घटनाओं का वर्णन है। ऋशि-मुनी, आश्रम, देवी-देवताओं से सम्बधित घटना क्रम है। उनके पौराणिक चरित्र आज के युग में भी अनुकरणीय है। ‘आत्रेयी अपाला’ उपन्यास की अपाला ‘आशाशिशु’का अंशुल, उपयमा आदि इस दिशा में वैदिक भाव में उदाहरणीय चरित्र है। ‘आशाशिशु’ में देवर्शि नारद भारतवर्श के पौराणिक काल का प्रख्यात चरित्र है। कहीं-कहीं इन्हें भगवद् अवतारों में भी गिना जाता है। इनका चरित्र प्रायः एक मनोरंजक पात्र के रुप में लोक के सामने आया है। इनका महत्वपूर्ण योगदान भक्तों के लिए स्वीकार किया गया है। एक सम्पूर्ण पुराण ही नारदपुराण, उनके महत्व पर रचा गया है। इस उपन्यास का आधार भी ‘नारदपुराण’ एंव ‘श्रीमद्भागवत् गीता’ रहे है। देवर्शि नारद के उन्ही के अनुसार तीन जन्म हुए। पहले जन्म में वे अपवर्हण नाम के गन्धर्व थे। तीसरे जन्म में वे साक्षात् ब्रह्य के पुत्र हुए। यह उपन्यास उनके द्वितीय जन्म पर आधारित है। इस उपन्यास में श्रीमद्भागवत् गीता से कई श्लोक लिए गए हंै। लेखक ने कहानी आरम्भ करने से पूर्ण तथा कथा शुरु होने से पहले व बाद में संस्कृत के शलोक दिए हैं। Pages:82-84
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, पटेल नगर, हिसार, हरियाणा) |
Pages:85-86 Pardeep Sharma and R.M Jha (Research Scholar, Monad University, Hapur, UP, and Asst. Prof.HIT Bahadurgarh and B.K. Birla Institute of Engg & Tech., Pilani, Rajasthan) Religion is an important force in our contemporary world. The idea that modernity would be secular was established as a dominant thought in the twentieth century. He has always been reluctant to discuss the spiritual conflict that caused him to turn to the Catholic Church. Greene has brought back to the English novel this religious sense. Greene is not only a marvellous story-teller and a master of suspense, but he also dealt with such soul reaching problems as faith, salvation and damnation in his major novels. Green's development as a novelist reveals above all an attempt to restore to English novel two qualities which it had lost, one, the religious sense, and two, the sense of importance of the human act. Greene has deep sympathy for the exiled or outcasts of our conventional society. Almost all his heroes are rebels against the social norms. He has never portrayed the sinless person or attempted a portrait of unsullied goodness. And Greene's works, especially his trio-logy, show his own obsession, that his religious obsession. For Greene the ideas of "Good" and "evil" are much more important than the idea of "niceness" and "decency" or even of "right" or "wrong". He has presented this very view through the action of his main characters. A close reading of Greene's novel's especially 'The Power and the Glory', and 'The Heart of the matter', discloses the fact that he sets himself two tasks: first to embody in his novels the general temper and atmosphere of the world, and secondly, to do this by taking such specimens of people as chief characters and by assigning such roles to them as bear unmistakable symptoms and testimony of the modern times. Pages:85-86
Pardeep Sharma and R.M Jha (Research Scholar, Monad University, Hapur, UP, and Asst. Prof.HIT Bahadurgarh… |
Pages:87-88 Renu (Research scholar, Singhania University,Rajasthan) Raja Rao was not wrong when he said in the preface to his novel Kanthapura that English is not a foreign language in India, it is only the language of our intellectual makeup and not of our emotional makeup. English language served as a veritable Suez Canal for intellectual intercourse between the east and the west. Though K.R.S. Iyengar has commented that Indian writing in English was rather like an animal imitating the footprints of another Indian English literature. Due to the western impact and English language in India; an interesting question awakened and that is - what are the similarities between Indian dramatists and Western dramatists, especially Shakespeare? Pages:87-88
Renu (Research scholar, Singhania University,Rajasthan) |
Pages:89-93 रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) लोक साहित्य किसी एक व्यक्ति विशेष द्वारा रचित साहित्य को नहीं कहा जा सकता। यह तो सनातन पीढ़ी दर पीढ़ी संचित लोकजीवन की अनुभूतियों और अनुभवों का दिव्य कोश है। लोक साहित्य के तत्वों का सामंजस्य पूर्ण प्रयोग लोकसाहित्य में बड़ी सहजता एवं शिष्टता के साथ होता है। लोक साहित्य की मूल प्रेरणा मानव एवं लोकजीवन में निहित है जिसके विभिन्न पक्षों से प्रेरित होकर ही श्रेष्ठ लोकसाहित्य का निर्माण होता है। लोकसाहित्य का उद्गम सनातन, शाश्वत, समाज समूहों, लोक संस्कृतियों से हुआ है। लोक साहित्य की अर्थवता और महत्व के बारे में विद्वानों का ध्यान 17वीं शताब्दी में गया। लोकसाहित्य इतना व्यापक और वृहद है कि उसका अवलोकन व वर्गीकरण करने से अध्ययन, मूल्यांकन, शोध करने में सुविधा रहती है। जिसको लोकगाथा, लोकगीत, लोकनाट्य, लोककथा और प्रकीर्ण साहित्य आदि नामों से अभिहित किया गया है। Pages:89-93
रेणु शर्मा (पी.एचडी. हिन्दी, सोनीपत, हरियाणा) |
Pages:94-95 वर्षा देवी (1680/4, राजेन्द्र सेठ कालोनी, कैथल) स्वतंत्रता-प्राप्ति के पश्चात् ही आम व्यक्ति को आर्थिक तंगी से गुजरना पड़ा। भारत-चीन युद्ध, मुद्रा स्फीति, मुद्रा का अवमूल्यन, जनसंख्या वृद्धि, केन्द्रीय शक्ति की दुर्बलता, राजनीतिक अस्थिरता, चारों ओर व्याप्त भ्रष्टाचार, नौकरशाही की आकर्मण्यता व सत्ता-प्राप्ति के बाद के घोटाले, षड्यंत्र ने मंहगाई को बढ़ावा दिया। आर्थिक अभावों को झेलता हुआ व्यक्ति अपने जीवन को बेहतर बनाने के लिए जीवन के प्रत्येक क्षेत्र में निरन्तर संघर्ष कर रहा है। आज के जीवन की सबसे बड़ी विडम्बना है- बढ़ती मंहगाई। इस मंहगाई के कारण व्यक्ति आर्थिक विवशताओं के बीच पिसता जा रहा है और उसका सारा जीवन इससे जूझते हुए व्यतीत होता जा रहा है फिर भी जीवन को भौतिक सुख से मंडित करने की उसकी अदम्य इच्छा पूरी नहीं हो पाती। निर्मला सिंह की ‘सड़क की मिट्टी’ कहानी का छंगा बढ़ती हुई मंहगाई में अपने परिवार के जीवन यापन के लिए घर से दूर शहर में कमाने के लिए आता है। यद्यपि उसके भीतर गाँव के प्रति स्नेह है और साथ ही उससे दूर रहने का दुख भी- ‘‘क्या बताऊँ- बाबूजी! कौन चाहता है अपना देश छोड़ना? मजबूरी में छोड़ना पड़ता है- पेट के खातिर। आज भी मेरी साँस में गाँव की सौंधी-सौंधी मिट्टी की खुशबू बसी है। हर वक्त कमली और बिटिया मेरी आँखों के आगे घूमती रहती हैं।’’1 अर्थतंत्र के शिकंजे में जकड़ा छंगा अपने रहने के लिए झोपड़ी या मकान नहीं खरीदता क्योंकि ‘‘उसके लिए भी रुपया चाहिए। बाबूजी, मैं अगर सारा कमाया धन अपने ऊपर खर्च कर दूंगा, तो घर क्या भेजूंगा? मंहगाई तो ताबड़तोड़ है। बड़ी कंजूसी से खर्च करता हूँं। तब जाकर अपनी कमली और बिटिया के लिए कुछ धन बचाता हूँ।’’2 Pages:94-95
वर्षा देवी (1680/4, राजेन्द्र सेठ कालोनी, कैथल) |
Pages:96-97 Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) दलित का अर्थ समाज के दबे कुचले वर्ग से लिया जाता है, किन्तु इधर कुछ वर्षाे से दलित का अभिधेयार्थ ‘अनुसूचित जाति’ तक सीमित रह गया है। दलित चेतना का तात्पर्य अनुसूचित जाति के युवको में अन्याय, शोषण, वर्ग भेद, जाति भेद के विरूद्व चेतना जाग्रत होने से लिया जाता है। वास्तविकता यह है कि दलित वर्ग के अन्तर्गत शोषित वर्ग के साथ - साथ आदिवासी, खेतिहर मजदूर, गरीब किसानों को भी सम्मिलित किया गया है भले ही वे किसी जाति के हो। दलित का तात्पर्य समाज के उस पददलित वर्ग से है जिसे सदियों से ‘अछूत’ कहकर उपेक्षित किया गया, हर प्रकार से उसका शोषण किया गया, उसे कोई अधिकार नहीं दिए गए, शिक्षा से वंचित रहा और उसकी इच्छा शक्ति को पनपने नहीं दिया गया। दलित साहित्य की जन्मभूमि महाराष्ट्र है। मराठी साहित्य में सर्वप्रथम दलित साहित्य का प्रारम्भ हुआ। प्रारम्भ में कुछ लोगों ने इसका अर्थ यह भी लिया कि जो साहित्य स्वयं दलित वर्ग के लोगों ने लिखा वही दलित साहित्य है, किन्तु आज भारत की अनेक भाषाओं में दलित साहित्य की रचना तमाम ऐसे लोग भी कर रहे हैं जो स्वयं दलित वर्ग के नहीं हैं। महाराष्ट्र में दो दलित नेताओं महात्मा फूले एवं डाॅ. भीमराव अम्बेडकर के विचारों ने दलितों में चेतना जागृत की और अनेक लेखकों ने इनसे अनुप्राणित होकर दलित चेतना से युक्त साहित्य का सृजन किया। Pages:96-97
Anju Bala (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana) |
Pages:98-99 Savita Yadav (Research Scholar, Department of English and Foreign Languages, MDU, Rohtak, Haryana) ज्ञीनेीूंदज ैपदहीश्े दवअमस ज्ीम ैनदेमज ब्सनइए सववो ंज सपमि जीतवनही जीम मलमे व िजीतमम बतवदपमे पद जीमपत जूपसपहीज लमंतेण् भ्म पे दवज ंज जीम चमंा व िीपे ूतपजपदह चतवूमेे.ंज 95ए ीम पे ूतपपदह दवज रनेज जूव ूममासल बवसनउदे इनज ंसेव वदम इववा ंजिमत ंदवजीमतण् भ्म चनजे कवूद जीम तमंसपजपमे व िजीम कंल पद ीपे बींतंबजमतपेजपब ेजलसमण् भ्म पे वदम व िप्दकपंश्े कपेजपदहन.पेीमक उमद व िसमजजमते ूपजी ंद पदजमतदंजपवदंस तमचनजंजपवदण् । इतपम िंबबवनदज व िीपे ंबीपमअमउमदज ंे ं दवअमसपेजए ं ेीवतज.ेजवतल ूतपजमतए ीपेजवतपंदए मेेंलपेजए ेामजबीपमेजए रवनतदंसपेज ंदक मकपजवत पे ेनििपबपमदज जव मेजंइसपेी ीपउ पद प्दकपं ॅतपजपदह पद म्दहसपेी ंे ं अमतेंजपसम हमदपनेण् भ्पे बंतममत ंे ं जवचसिपहीज रवनतदंसपेज इमहंद पद 1969 ंे मकपजवत व िज्ीम पससनेजतंजमक ॅममासल व िप्दकपंए विससवूमक इल ेजपदजे ंे मकपजवतए ल्वरंदंए छमू क्मसीप उंहं्रपदम ंदक ज्ीम भ्पदकनेजंद ज्पउमेण् ।े ं दवअमसपेज ज्ञीनेीूंदज ैपदही पे ंिउवने वित ज्तंपद जव च्ंापेजंद ;1956द्ध ंदक प् ैींसस छवज भ्मंत जीम छपहीजपदहंसम ;1959द्धण् ज्ीम पितेज बवससमबजपवद व िीपे ेजवतपमे ज्ीम टवपबम व िळवक ंदक व्जीमत ैजवतपमे ;1957द्ध पे उंतामक इल इवजी अमतइंस पतवदल ंदक इल पतवदल व िेपजनंजपवदण् । ठतपकम वित जीम ैंीपइ ंदक व्जीमत ैजवतपमे ;1967द्ध पे ीपे ेमबवदक बवससमबजपवद व िेजवतपमेण्थ्मू ंनजीवते ूवनसक ींअम उमद पद जीमपत उपक.मपहीजपमे ंे जीमपत ीमतवमेण् ज्ञीनेीूंदज ैपदही जव इम ंउवदह जीवेम मिूए जव बीववेम जीतमम उमद.च्ंदकपज च्तममजंउ ैींतउंए ं भ्पदकन ठतंीउपद जीमल बंसस श्ैंइरंदजंूंसंश्ए छंूंइ ठंतांजनससंी ठंपहए ं डनेसपउ ंे ीपे दंउम तमअमंसेए ंदक ठववजं ैपदही वत श्त्ंदहममसं ैंतकंतएश् ंे ठंपहश्े ूपमि बंससे ीपउण् ।सस जीतमम ींअम वदम वबबनचंजपवद पद बवउउवद─जंापदह ं ूंसा पद क्मसीपश्े स्वकीप ळंतकमदे मअमतल मअमदपदहण् ।ज ेनदेमजए जीमल ेपज कवूद ूींज पे ादवूद ंे जीम श्ठववतीं ठपदबीश् वत जीम वसक उमदश्े इमदबी जव मगबींदहम दमूे ंदक अपमूे वद जीम मअमदजे व िजीम कंलए जंसापदह ंइवनज मअमतलजीपदह तिवउ सवअमए सनेजए ेमगए ंदक ेबंदकंस जव तमसपहपवद ंदक चवसपजपबेण् ।सस जीतमम ंतम तपककमद ूपजी चतवइसमउे तमसंजमक जव वसक ंहम पण्मण्ए ीमंतपदह ंपकेए कमदजनतमेए ूंसापदह ेजपबोए ंदक ूीममस बींपतेण् ॅम पिदक जींज ठववजं ंदक ैींतउं ींअम मगजतमउम उववके ूीमतमंे ठंपह पे उवकमतंजम व िजीम जीतममण् ज्वहमजीमत जीमल ंतम ादवूद ंे जीम श्ैनदेमज ब्सनइण्श् प्ज पे ेव इमबंनेम जीम जीतमम उमद ूीव वबबनचल जीम इमदबी ंतम ेममद वद पज मअमतल कंल ंज ेनदेमजण् ।सस जीम जीतमम ंतम पद जीमपत संजम मपहीजपमेए जीम ेनदेमज लमंते व िजीमपत सपअमेण् ज्ीम दवअमस पे इंेमक वद जीम दवजपदहे तिवउ ैपदहीश्े कपंतलश्ेए ूीपबी ीम ींे इममद उमजपबनसवनेसल उंपदजंपदपदह वित लमंतेण् ज्ञीनेीूंदज ैपदही ींे ंसेव कमकपबंजमक जीपे इववा जव त्ममजं क्मअप─श्थ्वत त्ममजं क्मअप व िज्तपचनतंए डंींतंदप व िैनरंद ैपदही च्ंताए ंदक क्मसीपश्े वूद डवजीमत ज्मतमेंण्श् त्ममजं क्मअप पे वदम व िजीवेम ूवतापदह तिवउ उवतदपदह जव ेनदेमज बंतपदह वित जीम कपेंकअंदजंहमक सपअपदह पद क्मसीपश्े ेसनउेए जमदकपदह जव जीम पसस ंदक दममकल पद जीम अंतपवने संदमे ंदक इल संदमे व िजीपे बंचपजंस बपजलण् Pages:98-99
Savita Yadav (Research Scholar, Department of English and Foreign Languages, MDU, Rohtak, Haryana) |
Pages:100-101 Reetu Sardana (Department English, DN PG College, Hisar, Haryana) Bhabani Bhattacharya occupies a prominent position among the Indian-English novelists. Bhattacharya believes that the novel should have a social purpose, hence his stories abound in social and historical realities, quite often bitter and gruesome, the tragedies of the freedom-struggle and partition and the evils of poverty, corruption, ignorance, superstition, exploitation, greed, sexual perversion etc. But beneath them there is almost always present the novelist's unflinching faith in life and its invincibility, indestructibility and worthiness. What emerges prominently in almost every chapter of his novel and finally at the end of it as the pith of the world is the affirmation of life. Even in the midst of ghastly and heart-rending scenes of human sufferings and tortures, life asserts itself sparking amid ashes. From his assertion of ethical values and the synthesis of the old and the new and of opposite extremes emerges Bhabani Bhattacharya's final vision of the affirmation of life. Pages:100-101
Reetu Sardana (Department English, DN PG College, Hisar, Haryana) |
Pages:102-104 SavitaYadav (Research Scholar, Dept. of English & Foreign Languages M.D.U., Rohtak, Haryana) Bharati Mukherjee is arguably the most celebrated writer of the Asian immigrant experience in North America. She has honed the multiple(dis)locations of her personal biography, which itself has been described as a text in “a kind of perennial immigration,” into a literary and cultural poetics that she hopes would constitute “a revisionist theory for contemporary residency and citizenship” in the United States(Gabriel 85). Mukherjee also brings a unique feminist perspective to the immigrant experience. She tends to depict in her novels the psychological traumas of frustrated protagonists who find it difficult to adapt to the cross- cultural world of the foreign land. Pages:102-104
SavitaYadav (Research Scholar, Dept. of English & Foreign Languages M.D.U., Rohtak, Haryana) |
Pages:105-107 Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar) Language is one of the unique possessions of man. It is the language that differntiates human beings from animals. If a person uses refined language he can win the hearts and if he doesn't use proper language he can lose his dignity and degrade himself in the society. Without language, personality cannot be developed and society cannot be enriched. Ben Johnson says, “Language most shows a man: speak that I may see thee.” Language is a complex phenomenon which includes the first cry of the baby, the most rudimentary forms of human speech and all connections with all the fields of education. It is the language that unites the people of the world. It forms the basis of all the developments. Language is a system of arbitrary vocal symbols by means of which one can express his ideas, feelings and thoughts. One thing is crystal clear that language is a form of behaviour which is learnt and is not an automatic process like crawling. As stated it is behaviour and is acquired by making efforts. Let us take an example of a newly born baby. The infant has no language. He is continuously in the social group and there he learns the language through imitation and practice. He keeps on listening, listening and listening. With the passage of time he starts producing meaningful sounds. The point here is that the learning of any language is an effortful activity. Suppose an Indian born baby is placed in an environment where mother tongue is not Hindi and some other language (Second Language) is used all around, the children will acquire that Second language. This was the case when the child has not developed any language but if a person has already developed the mother tongue then a question arises: Does mother tongue help in learning the Second language or it hinders in the development of Second language? To answer this let us familiarize ourselves with the concepts of Mother tongue, Second language, the process of learning mother tongue and the process of learning Second language. Pages:105-107
Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar) |
Pages:108-109 Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar) Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar) David Herbert Lawrence can rightly be described as one of the most disputed genius in the history of the modern English novel. It has been contended by E.A. Baker, “D.H. Lawrence is the most incontestable case in the age of Hardy, Conrad Kipling and Chesterton, of a genius born not made.” He has received both excessive praise and excessive abuses. He is condemned as a sex on the account of his uncommon preoccupation with sex. The controversy arose because of the proscription of The Rainbow and Lady Chatterley's Lover on grounds of immorality has come in the way of a fair and impartial assessment of his worth as a novelist. T.S. Eliot has denounced him as an uncultured man, insensitive to 'ordinary social morality' and I.A. Richards has not accepted him for his holding 'Magical beliefs in an age of Science.' According to I.R. Leavis, he is a great novelist; “one of the very greatest.” D.H. Lawrence writes because of the internal compulsion or necessity. He seeks relief from his internal problems by externalizing them in fiction. Pages:108-109
Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar)
Sarita Dahiya (D.H. Lawrence College of Education, Jhajjar) |
Pages:110-114 दलबीर सिंह सैनी एव संगीता सैनी (जिला समाज कल्याण अधिकारी विज्ञान, हिसार एवं प्राध्यापिका, जीव, रा0व0मा0 विद्यालय, गंगवा, हिसार) मानव जाति ने भूतकाल में हैजा, प्लेग जैसी अनेक देशान्तरगामी महामारियों का सामना किया है। इसके बाद शताब्दी बदलते ही विश्व ने इनफल्यूंजा जैसी घातक बीमारी का व्यापक रूप से मुकाबला किया। इसके पचास से साठ साल बाद विश्व एक बार फिर एड्स नामक नई एवं भयंकर बीमारी का सामना कर रहा है। हालांकि एड्स का इतिहास इतना पुराना नही है परन्तु अभी तक इसके पूर्ण रोकथाम के लिए कोई दवाई उपलब्ध न होने के कारण संसार के हर भाग में लोग इसके नाम से ही भयभीत हो उठते हैं। एड्स (एक्वायर्ड इम्यून डिफेसेंसी सिन्ड्रोम) नामक रोग है जो कि एच0आई0वी0 (हयूमन इम्यून वायरस) नामक विशाणु से फैलता है। एड्स विश्व की प्रमुख दस घातक बिमारियों में से एक है। इतिहासः संसार में एड्स का प्रथम मामला 1981 में अमेरिका के सान फ्रांसिसको शहर में समलैंगिकों के बीच सामने आया जबकि भारत में प्रथम मामला 1986 में चेन्नई (मद्रास) मंे व्यवासायिक सैक्स कार्यकर्ताओं के बीच सामने आया। आज एच0आई0वी0 का विशाणु संसार के हर कोने में पाया जाता हैै। संसार में एच0आई0वी0 के सबसे ज्यादा संक्रमित व्यक्ति अफ्रीका महादीप में 70 प्रतिशत है जहां वहां विश्व की कुल जनसंख्या के मात्र 10 प्रतिशत लोग रहते है। एड्स वास्तव में कोई रोग नही है। यह एक बहुगुणिक अभिलक्षण है जो सक्रमंण के फलस्वरूप शरीर की प्रतिरोधी क्षमता को सिमित कर देता है, इस कारण शरीर का प्रतिरोधी तन्त्र अन्य रोगों के आक्रमण का सामना करने में असमर्थ हो जाता है। Pages:110-114
दलबीर सिंह सैनी एव संगीता सैनी (जिला समाज कल्याण अधिकारी विज्ञान, हिसार एवं प्राध्यापिका, जीव… |
Pages:167-169 Devi Rani (Reseach Scholar, Maharshi Dayanand University, Rohtak, Haryana) Devi Rani (Reseach Scholar, Maharshi Dayanand University, Rohtak, Haryana) It is a well established fact that “Knowledge is power” and literature is that potent source of knowledge whichprovides power not only to the privileged sections but also to the marginalized section of society (Bacon n.p).Literature has always played a significant role in raising the social consciousness and inspiring people to bring about required change.Be it Feminist literature, Afro-American literature, Post- colonial literature or any other literary movement for that matter, each proved to be an outstanding medium of consciousness raising and liberating the oppressed humanity in their respective fields.Similarly,Dalit literature also paved the path of Dalit emancipation since its emergence.Dalit literature, which came into its own as a collective voice after 1960, evolvedout of a stringent agitation to speak out the age-oldsufferings and struggle of the dalit masses which have been either suppressed or sidelined by the mainstream elite class literature. Though, the term “Dalit” literally means oppressed and “downtrodden, who have been “crushed down” under the centuries old tyrannical caste system and dehumanizing untouchability(Wikipedia n.p). But largely it is considered synonymous to the Scheduled castes and Scheduled tribes as they have been the most depressed and worst victim of Casteism. Therefore dalit literaturetraces out the trajectory of Dalit liberationfrom the stigma of untouchables andcontributes in establishing the identity of Dalit as dignified. Since the mainstream literature was monopolized by the high-caste and elite-class writers,the Dalits found hardly any place in their writings. It either ignored the lower castes or if touched dalit's issue at all, was merely a detached depiction of the depressed image of Dalits whichcommunicated an inferiority complex among dalits. Therefore dalit writers challenge the hegemony of high-caste imposition and showcase a revolutionary dalit consciousness in their writings. In the words of Baburao Bhagul, “Dalit is the name of total revolution; it is revolution incarnate”(Poisoned Bread 289). Dalit literature conveys theradical and ardent desire to overthrow the oppressive system. Though, the signs of this liberating spirit are visible in the history at various junctures but it is manifested most emphatically in the speeches and writings of Baba Sahib Ambedkar. He is considered the father of Dalit literature and dalit consciousness for it was he who imparted the awakening trio message of “educate”, “agitate” and “organize,” and declared the ideological battle against the entrenched caste system andthus broke ground for dalit emancipation(qtd. in Ambrose Pinto 140).The collective efforts of Dalit leaders, writers and scholars like Ambedkar, Jyotiba Phule and Dalit Panthers along with many other socio-political and literary movements enabled the Dalits to burst out their pent up anguishes.Thus so-far Dalit literature has been proved a worthy platform of raising and liberating dalit consciousness.The regional sub-branches of dalit discourse are sprouting from different corners of society. Dalits are outpouring their experiential reality inGujarati, Marathi, Bengali, Kannada,Hindi, Tamil and English languages to name a few.Dalit expressions have taken all known forms of literature, such as poetry, autobiographies, novels, short stories and critical essays etc. Pages:167-169
Devi Rani (Reseach Scholar, Maharshi Dayanand University, Rohtak, Haryana)
Devi Rani (Reseach Scholar, Maharshi Dayanand University… |
Pages:170-172 Ginni Rani (Department of English and Foreign Languages, M.D.U. Rohtak) The emergence of avant-garde forms, after traumatic experiences of two world wars was absolutely in keeping with the vagaries of these volatile times. To name a few, The Theater of the Absurd, the popping up of Lost Generation, Harlem renaissance movement, influx of theoretically charged conjectures, unique concision of language and lexical experimentation, newly found interest in psychological intricacies and (following Bergsonion ideas) fixation with the concepts of time and space, were some of the novelties that incorporated the literature of the time. All the Meta narratives like Marxism and Enlightenment values proved futile for humanity and a great skepticism wrapped all the literary genres. This skepticism resonated in variance: in angst, in antagonism and sometimes in lost sense of self in such an absurd world. Although the word 'Absurd' was first used by Albert Camus in his famous essay The Myth of Sisyphus , and element of absurdity can be traced back in ancient Greek literature too, but 'Absurdity' as a term flourished in fragmented and embittered post world war era. Martin Esslin coined this phrase in 1961 and categorized Harold Pinter in 'The Theater of the Absurd' along with Beckett, Ionesco, Genet and Adamov. A winner of Nobel Prize (2005), Harold Pinter, a prominent British playwright, screenwriter, actor and director of post war era is considered a 'teaser' for his ambiguous, puzzling and mysterious plays. In a bleak, disrupted and skeptic society, the dreamlike characters of Pinter's plays depict predicament of inscrutable and inexplicable existence with their simultaneous endeavors to uphold their individuality by rejecting conformity. Their frantic and collapsed psyches reveal their forlorn odyssey of self discovery. This paper focuses at unmasking the existential dilemma of all the characters of The Birthday Party (1957) who are lost in the post war political, social, religious and moral bankruptcy. In case of Pinter's play, where an individual's self is entangled in the authoritarian world and is not provided with a definite identity, this quest becomes all the more significant. Pages:170-172
Ginni Rani (Department of English and Foreign Languages, M.D.U. Rohtak) |
Pages:173-175 Amit (Assistant Professor, Gaur Brahman Degree College, Rohtak) Asif Currimbhoy's plays are full of political and racial violence. Although, socio political consciousness is his major theme but the aesthetics of violence is not less important theme. His two plays, Goa and Inquilab, have elements of political and racial violence. Goa manifests racial violence while Inquilab manifests political violence. Violence as method of control and dominance over those who are deemed to be inferior and powerless is practiced in many cultures, societies and countries of the world. At the domestic level, it is used against women, children and other vulnerable members of the family. At the national and international level, poor people, asylum seekers, refugees, blacks and ethnic minorities are occasionally subjected to or threatened with violence by the state or the institutions that uphold violence in the name of peace, order and national security. Racial violence, a major theme in Goa, can be defined as a form of violence which is perpetuated on the grounds of color, ethnicity and nationality. It differs from other forms of violence in that the root causes are to do with the assumption of superiority and dislike of other people who are deemed to be inferior because of their appearance and physical characteristics such as color, language and dress. Racial violence manifests itself in many ways. In its mildest form, it can be pushing, spitting, name-calling, teasing or practical jokes. In more serious case it involves physical assault, arson, stabbing, rape, murder massacre and genocide. Goa is full of these types of treatment, so it shows racial violence in full spectrum. Currimbhoy's another play Inquilab shows political violence which can be defined as a means used by the people and governments around the world to achieve political goals. Many groups and individuals believe that their political system will never respond to their political demands. As a result they believe that violence is not only justified but also necessary in order to achieve their political objectives. Similarly, many governments around the world believe that they need to use violence in order to intimidate their populace into acquiescence. Government also uses force in order to defend their country from outside invasion or other threats of force and coerce other governments to conquer territory. Political violence can take a number of forms like genocide, human rights violation, war, police brutality, counterinsurgency, torture and capital punishment etc. In Inquilab, political violence is shown through tribal insurgency in which, the minority people or the naxalites stir the whole country for their demands. So it seems that Currimbhoy's dramas depict violence at a broader and higher level unlike Tendulker's drama which shows violence at a narrow level. Currimbhoy's canvas of violence is considered 'broad' as he takes up the issues popular at national level. His plays reflect an influence of major political events, like Bangladesh war, Chinese invasion and freedom of Goa in 1961, which took place soon after the independence of India. Pages:173-175
Amit (Assistant Professor, Gaur Brahman Degree College, Rohtak) |
Pages:176-177 Rashmi (Independent Scholar, English, Rohtak, Haryana) The partition of India was the procedure of dividing the sub-continent along sectarian lines, which took place in1947 as India gained its independence from British Empire. The northern part predominantly Muslim, became nation ofPakistan and the southern predominantly Hindu became the republic of India, the partition however shocked both Indiaand Pakistan as the process claimed many lives in riots, rapes, murders and looting. The two countries inaugurated theirindependence with crumbling economies and lands without an established, experienced system of government, not only thisbut also about 15 million people were moved from their homes.The partition of India was ansignificant event not only in the history of the Indian subcontinent but inworldhistory. Its foremost reason was the communal thinking of both hindus and muslims; but the situations under which ithappened made it one of the gloomiest event of the history of India. No doubt, the Hindus and the Muslims were livingtogether since long but they fueled to inculcate the feelings of harmony and unity among themselves. The obsessive leadersof both communities played an important role in fuelling the fire of communalism. The partition was extremely brutaland large in scale and unleashed misery and loss of lives and property as millions of refugees fled either Pakistan or IndiaKushwant Singh's name is bound to go down in Indian literary history as one of the finest historian and novelist, a forthwright political commentator and an out standing observer and social critic. Pages:176-177
Rashmi (Independent Scholar, English, Rohtak, Haryana) |
Pages:178-180 Nalin Malik (S. S. Master, GMS Gandhinagar) Seth Chhaju Ram was a man with a difference. The help rendered by him to the revolutionaries is really a new steak to light in his way of living. He supported liberally various social, political, cultural educational, economic literary, religious organizations with money and material, with heart and soul. Strangely enough and proudly, Seth Chhaju Ram helped revolutionaries with utmost sincerity. In this context many erudite writers, eminent left politicians, widely and highly educated persons have narrated in the books authored by them as such. Around 1925-26, Lala Dev Raj ji (1860-1925), the founder of Kanya Mahavidyalaya, Jalandhar, came to Calcutta with a group of delegates. It was comprised of Professor Shanno Devi ji, some teachers and a few girls. They all were the guests of Seth Chhaju Ram. At that time Seth ji requested Lala Dev Raj ji, a man of revolutionary nature, to send a teacher of noble and cultured nature to teach her daughter Savitri. She will stay with us in kothi and will work both as the teacher and the guardian. Lala ji sent Sushila Bahin for this purpose. She also obtained the desired wages.1 Pages:178-180
Nalin Malik (S. S. Master, GMS Gandhinagar) |
Pages:181-183 Rashmi (Independent Scholar, Department of English, Rohtak, Haryana) GirishKarnad is the foremost playwright of the contemporary Indian stage. He has enriched the Indian literary scene by his contribution to art, culture, theatre and drama. It is most befitting that Karnad has been conferred by the President of India, the prestigious awards, Padam Shri in 1974 and PadamBhushan in 1992. He also received the Gubbiveeranna Award from the Government of Karnataka in 1997.Girish Karnad is undoubtedly the most important dramatist of the contemporary Kannadstage. His play was published in 1971, at that time Karnad was at the peak of his career and was under the influence of the great dramatist Brecht. This play has the repercussions of Brecht in many ways as K.Narsimha Murthy has rightly observed,“Hayavadana is a Brechtian kind of play employing native folk theatre strategies to present through a folk tale man's tragically futile aspiration for perfection” (qtd. in Bala 190). The very opening of the play with Ganesh pooja rightly suggestsone aspect of the play that is 'a journey from incompleteness to perfection.'Theopening of the play with the worship is quite significant because Lord Ganesha with human body and animal head properly suggests the central theme of incompleteness of being.As Bhagavata says in the play: Pages:181-183
Rashmi (Independent Scholar, Department of English, Rohtak, Haryana) |
Pages:184-187 Sonia (Assistant Professor, Hindu College, Sonepat) The lines above in the beginning part of Bajaj's poetic collection Swayamsidha (2013) are the absolutely right implication of her purpose of this writing. These lines refer to the very questionable identity of woman in the male dominated society as here she is recognized only as a daughter, sister, wife, mother and so on. Rashmi Bajaj is a bilingual (Hindi, English) writer, critic, poet, an intellectual speaker and an academician with four poetic collections in her hand and all of them are dedicated to female voice against victimization and exploitation in patriarchal society. Swayamsidha written in Hindi is a call for a woman that is awakened at all levels i.e physically, psychologically, politically and economically. In these poems Bajaj attacks on gender biased mentality. She does not spare even our so called Hindu Gods, Religious preachers, social workers for their neglecting and discriminative behavior against women. She even criticizes Khap Panchayats for their strict rules regarding women. Pages:184-187
Sonia (Assistant Professor, Hindu College, Sonepat) |
Pages:188-190 Vivek Malik (Department of English and Foreign Languages, M.D.U., Rohtak, Haryana) There are certain patterns of domination in the world, be it the case of man woman relationship, religion, caste, creed, language etc. Most of them are so laid out by the dominating class that such practices as suppression of women, caste system, and apartheid appear to be natural. A woman is not taught to be inferior or submissive to man but it is her very upbringing in the patriarchal society that gradually develops her into such a being. Similarly, the untouchables or people from lower castes are not treated at par with the upper caste people irrespective of their talent and skills merely because of their birth in a certain caste, something which they can't even choose. These social and cultural norms are meant to be adhered to and those who try to liberate themselves or others by defying these norms are not usually welcomed by the society and become outcasts. This paper dwells on the above theme through the characters of Ammu and Velutha. Ammu and Velutha represent the suppressed class women in patriarchy and the untouchables in a caste rigid society. They enter into a relationship defying the established norms of the society for which they pay a huge price. One is brutally killed and the other is left utterly lonely. Arundhati Roy's Booker winning novel, The God of Small Things is a powerful portrayal of the plight of women in a patriarchal society and their struggle to be recognised as human beings equal to men in all respects. Roy highlights the discrimination meted out to women through the character of Ammu. The male dominated society renders woman into a dependent and deprived being. It makes her the most vulnerable section of our society. Society not only has a biased attitude towards women, but also through man-made institutions it tries to legitimatize their inferior and submissive status in the society. She is assigned relative positions through the process of continuous social and cultural conditioning. This inferior and biased treatment of women starts right from her birth and it affects her whole being. As Simone de Beauvoir says in her path breaking feminist work The Second Sex (1949): Pages:188-190
Vivek Malik (Department of English and Foreign Languages, M.D.U., Rohtak, Haryana) |
Pages:191-194 Sumit (Asst. Prof. G.C.W., Rohtak, Haryana) Cry, The Peacock, Anita Desai's first publication, is a tale of Maya's love for Gautama, her husband. Gautama is a wealthy, industrious and practical lawyer. He, exemplifying patriarchal values every time, is indifferent to her. Apart from this, he also oppresses her. Gautama does not even try to understand her feelings and desires. He suffers from the feeling of superiority, which doesn't let him understand his wife, Maya. His psyche has been shaped by the worst dominating system prevailing in our society i.e. Patriarchy. Pages:191-194
Sumit (Asst. Prof. G.C.W., Rohtak, Haryana) |
Pages:195-196 Ritu Saharan and Ritu Sardana (Department of English, Sai Nath University, Ranchi and Assistant Professor, D.N. College, Hisar, Haryana) Virginia Wolf is one of the most prominent literary figurers of twentieth century and is widely admired for her technical innovations in the novel, most notably her development of stream-of-consciousness narrative. She is best known for developing the 'stream of consciousness' method of writing in which the reader follows the characters' internal thoughts as the story unfolds. Virginia Woolf published roughly 300 notices, reviews, and critical essays (this does not include biographical essays) in a wide variety of magazines, newspapers, and journals. Woolf's first review, of William Dean Howells's The Son of Royal Langbrith, was published in the women's supplement to the Guardian, a clerical weekly, 14 December 1904, under editor Margaret Lyttleton. The Guardian would be a steady source of income until 1909. Shortly after this debut she placed a review in Academy and Literature, but she would only write four essays for them in her lifetime. Pages:195-196
Ritu Saharan and Ritu Sardana (Department of English, Sai Nath University, Ranchi and Assistant Professor… |
Pages:197-198 Anita Hooda and Prem Kumari (Asso. Professor, Govt. P.G. College, Hisar) It is not surprising when we know that at all times, Narayan writes not merely with an intense social awareness of his own age but with the past of India with him. Thanks to him that our social sympathies are broadened and our moral being considerably heightened. It may be noted that the legends of the past in Narayan's interpretation must not be regarded as an escape from the present day life, on the contrary, he brings ancient myths to our reality. These legends are his pride for folk wisdom, for ancient Indian values, for spiritual heritage of his country. Ethical view provide Narayan with a common ground between him and his readers, the common stock of experience which makes communication possible. Literary value is most vital art. Critics are of the view that Indo-Anglian literature is imitative in nature and not firm1y rooted in the soil. This criticism is false, because, as we have seen, the strength and appeal of Narayan's novels lies in the substance he drew from his own soil. Narayan draws directly from the moral values of our epics and classics. Pages:197-198
Anita Hooda and Prem Kumari (Asso. Professor, Govt. P.G. College, Hisar) |
Pages:199-201 Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) लोकजीवन का स्वरुप. मानव जीवन के दो चरण हैं - लोकजीवन तथा शिश्टजीवन। मशीनी सभ्यता के विकास के साथ मानव प्रकृति के सुरम्य, इन्द्रधनुशी एवं स्वाभाविक वातावरण को छोड़कर कृत्रिमता की ओर अग्रसर हुआ है। इसीलिए आज के जीवन को मानव पर स्वतः आरोपित जीवन कहा गया है। आज मनुष्य का जीवन एकदम एकरुप तथा अत्याधिक स्वाभाविक एवं स्वतन्त्र हो गया है। ’’जो कुछ हमने सोचा, किया और सहा उसका प्रकट रुप हमारा जीवन है। लोकराष्ट्र की अमूल्य निधि है। हमारे इतिहास में जो भी सुंदर तेजस्वी तत्व है, वह ’लोक में कहीं न कहीं सुरक्षित है। हमारी कृषि, अर्थशास्त्र ज्ञान, साहित्य, कला के नाना रूप भाषाएँ और शब्दों के भण्डार, जीवन के आनन्दपर्वोत्सव नृत्य, संगीत, कथा, वार्ताएँ, आचार-विचार - सभी कुछ भारतीय लोक में ओत-प्रोत हैं।40 लोक जीवन सुदीर्घ परम्परागत पैतृक उत्तराधिकार में प्राप्त वह पारम्परिक जीवन है जो निसर्ग सौन्दर्य, माधुर्य, सारल्य, त्याग आध्यात्मक, स्वाभाविकता आदि अलंकारों से सुशोभित है। इसमें किसी प्रकार का बाह्य प्रदर्शन नहीं है। निरन्तर प्रवाहमान एवं गतिशील लोक जीवन में श्रद्धा और विश्वास भी भावना ’लोक के उत्सवों, अनुष्ठानों तथा उसके विविध कार्य-कलापों में स्पष्ट परिलक्षित होती है। Pages:199-201
Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) |
Pages:202-204 सरोज बाला (हिन्दी विभाग, सांईनाथ विश्वविद्यालय, रांची।) डा. सूर्यनारायण द्विवेदी द्वारा रचित उपन्यास साहित्य में ‘आशाशिशु‘ का प्रमुख स्थान है। इस उपन्यास का प्रकाशन 1999 में वाराणसी में श्री श्री राधा प्रकाशन संस्थान से हुआ था। आलोच्य उपन्यास में नारी का चित्रण विभिन्न रुपों में हुआ है। इस उपन्यास का प्रमुख कथानक देवर्शि नारद के द्वितीय जन्म पर आधारित है। ‘आशाशिशु‘ उपन्यास में नारद अंशुल की माता उपयमा व मौसी चीमा का नारी चित्रण प्रमुख रुप से हुआ है। तिलोतमा, उर्वसी मेनका आदि स्र्वग अपसराओं की सुन्दरता का वर्णन भी यन्त्र-तन्त्र से हुआ है। उपन्यास के तत्वो में चरित्र-चित्रण का सर्वाधिक महत्व है। यदि कथानक उपन्यास मेरुदंण्ड है तो चरित्र-चित्रण उसका प्राण है। पात्र सामान्यतः मनुष्य ही होते हैं। उपन्यासकार स्वंय भी मनुश्य ही होता है। इस कारण उसमें और उसके पात्रों में अद्भुत साम्य होता है। Pages:202-204
सरोज बाला (हिन्दी विभाग, सांईनाथ विश्वविद्यालय, रांची।) |
Pages:205-207 Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) वैदिक काल से ही विवाह संस्कार को मानव जीवन का अत्यंत आवश्यक संस्कार कहा गया है।यह सोलह संस्कारों में से तेरहवां संस्कार माना गया है। विवाह संस्कार स्त्री और पुरूष का अटूट बंधन है जो धर्म तथा नियम से आबद्ध होकर जीवन पर्यंत, बल्कि जन्म-जन्मांतर तक का संबंध बन जाता है।1. विवाह की आवश्यकता केवल वासना तृष्ति के लिए नहीं मनुष्य धर्म के समुचित रूप से पालन के लिए है। 2. विवाह का दूसरा उद्देश्य स्त्री सन्तान उप्तत्ति द्वारा पितृऋण से उऋण होकर अपनी वंश बेल को बढ़ाना है तथा तीसरा उद्देश्य स्त्री एवं पुरूष के पवित्र साहचर्य द्वारा पारिवारिक सामाजिक तथा राष्ट्रीय जीवन धारा को स्वस्थ एवं सुखद बनाना है। भारत में विवाह के समय अनेक रस्मों का निर्वाह किया जाता है जिसमें उन रस्मों से संबंधित अनेक प्रकार के गीत गाए जाते हैं यही प्रथा हरयाणवी लोकगीतों में देखने को मिलती है। जिनमें देवी-देवताओं, वर, वधु, सगाई, भात, बान, बनवाड़ा, मेहंदी, घुड़चढ़ी, बारात, फेरे व विदाई आदि के लोकगीत सम्मिलित हैं। हरियाणा में ही नहीं सम्पूर्ण भारत में किसी भी मांगलिक अवसर पर गीतों का आरम्भ देवी-देवताओं के गीतों से ही किया जाता है। इसमें माता, देेवी, पित्रर, हनुमान आदि के गीत गाए जाते हैं। Pages:205-207
Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) |
Pages:208-209 प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) स्वामी विवेकानंद जी कहा करते थे ”मनुष्य निर्माण ही मेरा जीवनोद्देश्य है“ और वास्तव में यदि हम स्वामी विवेकानंद के जीवन एवं कार्यों को देखें तो उनकी कथनी और करनी एक सी ही थी। स्वामी जी का सारा जीवन मनुष्य निर्माण में ही लगा। वे युवकों से कहते थे ”अपनी दुर्बलताओं पर बार-बार मत सोचो, शक्ति का ध्यान करो, शक्ति की साधना करो..... समस्त वेद वेदांत का सार यही है अभयम्-शक्ति, सामथ्र्य.... मेरे युवा मित्रो। शक्तिवान बनो। यही मेरा तुम्हें परामर्श है फुटबाॅल के खेल द्वारा बलवान होकर तुम प्रभु के निकट शीघ्र आ सकते हो-निर्बल रह कर गीता अध्ययन से तुम्हें ब्रह्म की प्राप्ति नहीं हो सकेगी। यह मैं तुम्हें पूरी नष्ठिा से कह रहा हूं क्योंकि मेरा तुम पर स्नेह है। मुझे तुम्हारी पूर्व जिज्ञासा का ज्ञान है।“ 24 जनवरी, 1896 ई॰ को स्वामी विवेकानंद ने न्यूयाॅर्क से एक पत्र भारत में अपने गुरु भाई योगानंद को लिखा। उसमें कहा ”स्वयं कुछ करना नहीं और दूसरा कोई कुछ करना चाहे तो उसका मखौल उड़ाना हमारी जाति का यह एक बड़ा दोष है और इसी से हमारी जाति का सर्वनाश हुआ है। हृदयहीनता तथा उद्यमों का अभाव सब दुःखों का मूल है।“ इसी प्रकार एक अन्य पत्र में लिखा ”लाखों रुपया खर्च कर काशी तथा वृंदावन के मंदिरों के पट खुलते और लगते हैं। कहीं ठाकुर जी वस्त्र बदल रहे हैं तो कहीं भोजन या कुछ और कर रहे हैं किन्तु दूसरी ओर जीवित ठाकुर भोजना और विद्या के बिना मरे जा रहे हैं। यही हमारे देश की सबसे बड़ी बीमारी है। यह पागलपन नहीं तो और क्या है। नर सेवा ही नारायण सेवा है। दरिद्र नारायण ही तुम्हारे भगवान हैं। उन्हीं की मन, वचन, कर्म से सेवा करो।“ Pages:208-209
प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा)
प्रियंका शर्मा (दिल्ली पब्लिक स्कूल, हिसार, हरियाणा) |
Pages:210-212 सुशीला (हिन्दी विभाग, भिवानी, हरियाणा) शिल्प (शैली) रचना के आरम्भ से अन्त तक कुछ विशेष तत्त्वों के माध्यम से आकार ग्रहण करता है। शिल्प से हमारा अभिप्राय है रचना अथवा बनाना या बनाने का तरीका। जिस प्रकार एक शिल्पकार अपने चित्र से सभी दोषांे का निवारण कर उसमंे सभी अच्छे भावों को तूलिका के माध्यम से प्रस्तुत करता है। उसी प्रकार एक रचनाकार भी अभिव्यक्ति कौशल से अपनी रचना को सुदृढ़ बनाता है। भाव कितने भी अच्छे हों, जब तक अभिव्यक्ति पक्ष मजबूत नहीं होगा, भावों को ठीक ढंग से सम्प्रेषित नहीं किया जा सकता। अतः भावों के साथ अभिव्यक्ति भी सही होनी चाहिए। हम यहाँ तक कह सकते हैं कि रचना निर्माण की पद्धति ही शिल्प है। संस्कृत हिन्दी शब्द कोश के अनुसार शिल्पम् शब्द का अर्थ- ‘‘ शिल $ पकऋ कला, ललित कला, यांत्रिक कला (इस प्रकार की चैंसठ कलाएँ गिनाई गई हैं) किसी भी कला में, कुशलता, कारीगरी, विदग्धता पटुता कार्य शारीरिक श्रम या कार्य, कृत्य अनुष्ठान।’’1 बृहत हिन्दी शब्द कोश के अनुसार शिल्प शब्द का अर्थ- हुनर, कारीगरी, दक्षता, टेकनीक, शैली से ज्यादा व्यापक, वह उपादान जिसके द्वारा रचनाकार अपनी भावनाओं को किसी विशेष ढंग से ही व्यक्त कर पाता है। हस्त कर्म रूप, आकृति, निर्माण, सृष्टि, धार्मिक कृत्य अनुष्ठान। (कर) शिल्पकार (कला) दस्तकारी का कौशल, हुनर की दक्षता।’’2 Pages:210-212
सुशीला (हिन्दी विभाग, भिवानी, हरियाणा)
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Pages:213-215 गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) भारतीय संस्कृति और वेद पुराणों में यज्ञों की अपार महिमा निरूपित है। यज्ञ तो वैष्णव धर्म का मुख्य आधार है। यज्ञों के द्वारा विश्वात्मा प्रभु को संतृप्त करने की विधि बतलायी गयी है। अतः जो जन्म-मरण के बन्धन से मुक्त होना चाहते हैं, उन्हे यज्ञ-यागादि शुभ कर्म अवश्य करने चाहिये। परमात्मा के निःश्वासभूत वेदों की मुख्य प्रवृत्ति यज्ञों के अनुष्ठान-विधान में है। यज्ञों द्वारा पर्जन्य वृष्टि आदि से संसार का पालन होता है। इस प्रकार परमात्मा यज्ञों के सहारे ही विश्व का संरक्षण करते हैं। यज्ञकर्ता को अक्षय सुख की प्राप्ति होती है। मनुष्य को अपने जीवन के सर्वविध कल्याणार्थ यज्ञन्धर्म का पालन करना चाहिये। मानव का और यज्ञ का परस्पर घनिष्ठ सम्बन्ध सृष्टि के प्रारम्भकाल से ही चला आ रहा है। वस्तुतः देखा जाये तो मानव के जीवन का प्रारम्भ ही यज्ञ से होता है। इसका स्पष्टीकरण गीता में भी किया गया है Pages:213-215
गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) |
Pages:216-220 सुशीला (हिन्दी विभाग, भिवानी, हरियाणा) सुशीला (हिन्दी विभाग, भिवानी, हरियाणा) ‘शैली’ पाश्चात्य, साहित्यालोचन मंे विवेचित ‘स्टाइल’ का हिन्दी पर्याप है। ‘स्टाइल’ शब्द लेटिन ‘स्टाइलस’ से निष्पन्न है। ‘स्टाइलस’ एक प्रकार की धातु निर्मित लेखनी होती थी, जिससे मोम की पट्टियांे पर शब्द अंकित किए जाते थे। इस शब्द का प्रयोग क्रमशः लेखन कार्य के कौशल और नैपुण्य के अर्थ मंे होने लगा। पाश्चात्य साहित्यालोचन मंे प्लेटो- अरस्तू युग से ही ‘-स्टाइल’ को दो भिन्न-भिन्न अर्थों में ग्रहीत किए जाने की परम्परा रही है। प्लेेटोवादी विवेचकांे के अनुसार प्रत्येक उक्ति मंे ‘शैली-तत्त्व’ की स्थिति अनिवार्य नहीं है, जबकि अरस्तू वादियांे मंे ‘शैली’ अभिव्यक्ति मात्र का अनिवार्य अंग है, यह और बात है कि वह सबल या दुबल अथवा अच्छी या बुरी किसी भी प्रकार की हो। Pages:216-220
सुशीला (हिन्दी विभाग, भिवानी, हरियाणा)
सुशीला (हिन्दी विभाग, भिवानी, हरियाणा) |
Pages:221-223 गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) भगवान विष्णु वैष्णवधर्म के परमाराध्य देवता है। वैदिक ऋचाओं में भगवान विष्णु के तत्व दर्शन गर्भित है, जो अनन्य साधारण तथा अनिर्वचनीय है। वस्तुतः भगवान विष्णु के रहस्य का समुरधारन साधारण मनुष्य के पक्ष में सहज साध्य नहीं है। किस काल से किस कारण भगवान विष्णु दारूब्रह्म रूप में पूजित होने का सार मर्म क्या है। यह निःसन्देह भाव से स्थिर निर्णय करना अत्यन्त व्यापार है। भगवदीय तत्वों का भक्तिपरक विवेचन ऋग्वेद में वर्णित है Pages:221-223
गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) |
Pages:224-226 सरोज बाला (हिन्दी विभाग, सांईनाथ विश्वविद्यालय, रांची।) डाॅ॰ सूर्यनारायण द्विवेदी के उपन्यास-आशाशिशु व आत्रेयी अपाला में वैदिक कालीन नारी-चित्रण किया गया है। पतिव्रता स्त्री की कथा का वर्णन किया गया है। वैदिक काल में नारियों को सम्मान प्राप्त था। इस पर गजानन शर्मा जी लिखते है- वैदिक युग में पत्नी को बहुत आदर प्राप्त था। वे आर्य पत्नी को ही घर मानते थे-पत्नी ही घर है उनके गृहस्थ धर्म का आशय था-नारी के साथ रहकर धर्माश्ठान और यज्ञ सम्पादन करना। बिना नारी के गृह का अस्तित्व कंहा है, और गृह के अभाव में गृहस्थ-धर्म का सम्पादन हो तो कैसे! इस विचारधारा में गृहिणी गृहस्थ धर्म की प्रतिष्ठा का एक मात्र सहायक आधार थी। पति-पत्नी दोंनों मिलकर यज्ञ करते थे। यही नहीं स्त्रियां पृथक रूप से भी यज्ञ करती थी।1 Pages:224-226
सरोज बाला (हिन्दी विभाग, सांईनाथ विश्वविद्यालय, रांची।) |
Pages:227-229 गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) वैष्णव धर्म के साथ दर्शन की सम्बद्धता ने दर्शन को जीवन के लिए प्रवृत्त किया। धर्म का अविर्भाव ही व्यक्ति की लौकिक एवं पारलौकिक उन्नति के लिये हुआ (यतः अभ्युदयनिः श्रेयसिद्धिः सः धर्म‘‘) वैष्णव धर्म की उत्पत्ति मानवता को दुःखों से मुक्ति दिलाने के लिये हुआ है, इसलिये व्यक्ति के परम लक्ष्य के रूप में मोक्ष को प्रतिष्ठा प्राप्त हुई, जो कहीं दुखनिवृत्तिमात्र है तो कहीं-कहीं दुखनिवृत्ति के साथ-साथ आनन्द प्राप्त की भी अवस्था है। वैष्णव धर्म के दर्शन का मुख्य लक्ष्य जीवन के दुःखों को दूर करने का उपाय खोजना है अतः ऋषियों, आचार्यों ने अहिंसा, सत्य, अस्तेय, ब्रह्मचर्य एवं अपरिगृह को मानवमात्र का आचरण धोषित किया। अतः धर्माचार्य प्राणिमात्र के सुख एवं कल्याण की कामना करता है- सर्वे भवन्तु सुखिनः और वसुधैव कुटुम्कम् जैसे उद्धोषों में होती है। Pages:227-229
गीता देवी (संस्कृत विभाग, कन्या महाविद्यालय, हिसार) |
Pages:230-231 किरण बाला (गवर्मेन्ट गल्र्स प्राइमरी स्कूल, बहादुरगढ़, हरियाणा) राश्ट्रीय काव्यधारा का सृजन-क्षेत्र भारत तक सीमित न होकर विश्व व्यापी है। संपूर्ण विश्व में प्रत्येक देश में ज्यों-ज्यों स्वयं को आधुनिकता के सांचे में ढाला त्यों-त्यों वहाँ का काव्य राष्ट्रीय काव्य-धारा से युक्त होता चला गया है। भारतीय साहित्य में राष्ट्रीय काव्य-धारा, देश प्रेम, राष्ट्र-भक्ति की पावन सुगंधि मलय-पवन के मन्थर झोंकों के साथ समस्त वायुमंडल में निरंतर रस संचार करती रही है। ऋग्वेद से लेकर पूर्ववर्ती भाषाओं अपभ्रंश, पाली और प्रकृत में देशानुराग के गीत गाने वाले कवियों की कमी नहीं है। भारतेंदु युग तक आते-आते यह राष्ट्रीय काव्य-धारा एक व्यापक फलक पर अपना प्रभाव छोड़ती नजर आती है। भारतेंदु युग में राष्ट्रीय काव्य धारा के दो क्षेत्र नजर आते हैं, प्रथम राजभक्ति तथा दूसरी राष्ट्र भक्ति। कहीं-कहीं दोनों का समन्वित रूप भी इस युग के काव्य में उपलब्ध होता है। भारतेन्दू ने राष्ट्रीयता की हुंकार और गर्जना ’भारत-जय’ नामक कविता में इस प्रकार प्रकट की है Pages:230-231
किरण बाला (गवर्मेन्ट गल्र्स प्राइमरी स्कूल, बहादुरगढ़, हरियाणा) |
Pages:232-234 अनीता देवी (शोधार्थी एम.फिल हिन्दी विभाग, कुरूक्षेत्र विश्वविद्यालय कुरूक्षेत्र) दलित साहित्य से अभिप्राय दलित जीवन और उनकी घटनाओं व तथ्यों पर आधारित लेखन की समस्याओं को मध्य में रखकर साहित्य सृजन के आन्दोलन से है। हिन्दू समाज में दलितों को सबसे निम्न दर्जे का होने के कारण शिक्षा, समानता, न्याय तथा स्वतन्त्रता आदि संविधान में उल्लेखित मौलिक अधिकारों से दूर रखा जाता था। हमारे सजाज में सबसे अधिक शोषण चाहे वो सामाजिक, आर्थिक, धार्मिक या अपने अधिकारों के प्रति हो इसका सबसे अधिक असर दलितों व उनकी अर्थव्यवस्था पर पड़ा है। जिसके कारण उनका जीवन-स्तर निम्न से निम्न दर्जे का होता गया। भारत में दलितों की उपेक्षा होते हुए शताब्दियां बित गई। हिन्दू धर्म में परम्परागत रूप से चली आ रही प्रथाओं जिसमें अस्पृश्यता, अछूत और वर्ण व्यवस्था के रूप में दलितों को पहचान मिली। हिन्दू समाज का वह वर्ग, जो सबसे नीचा माना गया हो, दुखी और दरिद्र हो और जिसे उच्च वर्ग के लोग उठने न देते हो जैसे भारत की छोटी या अछूत मानी जाने वाली जातियों का वर्ग। जैसे ही दलित वर्ग में क्रांति आई उस क्रंाति का नाम ही दलित साहित्य है। Pages:232-234
अनीता देवी (शोधार्थी एम.फिल हिन्दी विभाग, कुरूक्षेत्र विश्वविद्यालय कुरूक्षेत्र) |
Pages:235-238 Kusum Saini (Research Scholar, Department of Hindi, Sai Nath University, Ranchi) आधुनिक काल में भारतीय नारियों ने जितनी प्रगति की है, अपने सामाजिक एवं राजनीतिक अधिकारों के लिए उन्होंने जो महान संघर्ष किया है, वह मानवीय इतिहास की महत्वपूर्ण घटना है। वास्तव में नारियों से ही मानव जीवन की पूर्णता सिद्ध होती है। बिना नारी के पुरुष अधूरा है, उसका जीवन अपूर्ण है। उन्नीसवीं शताब्दी के उत्तरार्द्ध में जब हिन्दी उपन्यास साहित्य का आविर्भाव हुआ तब भारत में नारियों की स्थिति बहुत अच्छी नहीं थी और पाश्चात्य देशों की नारियों की अपेक्षा वे अत्यधिक पिछड़ी हुई थीं। भारत में ब्रिटिश साम्राज्य की स्थापना के साथ ही धीरे धीरे भारतवासियों में नवीन चेतना का उदय हुआ, पुनरुत्थान की भावना का जन्म हुआ और नारियों की शोचनीय स्थिति की ओर लोगों का ध्यान जाने लगा। नारी स्वयं ही अपनी हीनावस्था और अपने अधिकारों के प्रति सजग होने लगीं। उपन्यासकार इस स्थिति से प्रभावित हुए बिना नहीं रह पाये और उन्होंने नारियों की स्थिति का चित्रण कर, उनके सुधार की दिशा में उपन्यासों के माध्यम से कार्य करना प्रारंभ किया। इस प्रकार के नारी प्रधान उपन्यास लिखने वाले उपन्यासकारों में विष्णु प्रभाकर जी अग्रगण्य हैं। Pages:235-238
Kusum Saini (Research Scholar, Department of Hindi, Sai Nath University, Ranchi) |
Pages:239-241 M. K. Mahmoudi (Department of Persian language and literature, Arsanjan Branch, Islamic Azad University, Arsanjan, Iran) Abdollah Parchami was born in Istahban on April 7th, 1942 .Although his father, Haj Mohamamd Hossein Parchami, was illiterate, he had memorized a considerable number of blessings and most Hafez poems and he used to say poems spontaneously. (Parchami, 2003:13) Abdollah had to quit elementary school in three periods due to climate changes such as drought, lack of rain, and locust invasion. After obtaining sixth -grade certificate , he started to make living as tailor and he was employed in former military force after finishing obligatory military service .Then he got married and had two children .Although his life condition was too hard with low salary , he seriously decided to continue his education and most of his commanders opposed him .Nevertheless he got his diploma .Despite many difficulties he made it to enter former military academy and graduated after passing difficult exams with military grade .(Same ,16)During serving as military man ,he confronted different types of events .He said 10 books of poetries concerning various subjects and fields .These books have not yet been published due lack of affordability .His poems were in the form of sonnet , elegiac poem, couplet , humor and jokes , advice , everyday subject ,and natural and emotional needs and his poets describe emotions in that he is always busy saying poems about everyday life subjects , his own life, and people`s lives .He is writing continuously and spontaneously and he is saying poems even during sleeping in that he normally forgets his poems after waking up ,or he does not have time to write .It seems that he is made up of poems and his dream is to have them published (same, 18) Pages:239-241
M. K. Mahmoudi (Department of Persian language and literature, Arsanjan Branch, Islamic Azad University, Arsanjan… |
Pages:42-45 Rakesh Bharti Yadav (S. K. Govt. P. G. College, Kanwali) The term apartheid refers to the South African policy of racial segregation or discrimination on grounds of race. Beginning with the White men's Colonization of South Africa in the seventeenth century; the Dutch descendents established the new colonies of Orange Free State and Transvaal. The discovery of diamonds in this land led to an English invasion sparking the brutal Boer War. When the African National Party come to power its leaders and strategists; trained in Nazi Germany invented the policy of apartheid to cement their control over the political, economic and social sphere of the country. Although the domination of the blacks by the whites is rooted in the history of that nation the enactment of apartheid laws in 1948 made racial discrimination institutionalized. The Population Registration Act of 1950 required that all South Africans be racially classified into one of the three categories: white, black or coloured. The coloured category included major subgroups of Indians and Asians. Classification into these categories was based on appearance, social acceptance and descent. In 1951 the Bantu Authorities Act established a basis for ethnic governments in African reserves, known as “homelands''. The Africans living in these homelands needed passports to enter South Africa. Thus they become aliens in their own country. In 1953, The Public Safety Act and Criminal Law Amendment Act were passed to suppress the coloured people. The Land Acts of 1913, 1936, 1954 and 1955 set aside eighty percent of land and resources of the country for the white minority. Dominique Lapierre in this novel relates the powerful and tragically, historical drama that brought to life the country that is today known as the Rainbow Nation. Ania Loomba in Colonialism/Postcolonialism has considered the complexities of colonial and post colonial subjects and identities and how the colonial encounter restructured ideologies of race, culture and class. She has also considered the ways in which the patriarchal oppression and colonial domination conceptually and historically connect to one another. Aime Cesaire in Discourse on Colonialism indicts the colonial brutality and claims that, “colonialism not only exploits but dehumanizes and objectifies the colonized subject, as it degrades the colonizer himself.''(Loomba 24) Commenting on the European Imperialism, Daniels writes, “The struggle to impose global European hegemony began after the voyages of Columbus and others in the so called Age of discovery; so called because everywhere the Europeans went they found people before them… not only did they arrogantly assume their own superiority but they also disregarded the legitimacy of the civilizations and cultures they encountered. (Daniels 3-4) Pages:42-45
Rakesh Bharti Yadav (S. K. Govt. P. G. College, Kanwali) |
Pages:46-52 Navita (Govt. Girls Senior Secondary School, Madina, Rohtak, Haryana) Although diverse cultures, societies and situations make women diverse in nature, but there are certain issues which are universal to the whole of womankind. A woman of any origin, belonging to any strata of society goes through emotional upheavals in her life. In her work The Feminine Mystique Betty Friedan who is regarded as the harbinger of the second wave of American feminism throws light on the fact that women, who apparently have everything to make them happy and comfortable, fail to trace the source of dissatisfaction and the cause of the emotional distress that they suffer. Friedan believes that this happens because women can not gratify their basic needs, and can not fulfil their desires or exist as human beings. Pages:46-52
Navita (Govt. Girls Senior Secondary School, Madina, Rohtak, Haryana) |
Pages:53-56 Suhas A. Vinchurkar, Deepeshwar Singh, Naveen K. Visweswaraiah, H.R. Nagendra and Ramachandra G. Bhat (Swami Vivekananda Yoga Anusandhana Samsthana (S-VYASA), Bengaluru) Cognition is defined as the set of all mental abilities and processes related to knowledge: attention, memory & working memory, judgment& evaluation, reasoning & computation problem solving & decision making, comprehension & production of language(Miller & Wallis, 2009).The concept of cognition and perception has a detailed description in all the six Indian philosophies but has slight variations amongst each of the philosophies.All six schools of Vedic philosophy aim to describe the nature of the external world and its relationship to the individual, to go beyond the world of appearances to ultimate Reality, and to describe the goal of life and the means for attaining this goal. Perception and cognition have been described to have key role in the right means of knowledge(Swami, 2001).The sad-darshana (six philosophical views) are nyaya (logic), vaisesika (atomic theory), sankhya (analysis of matter and spirit), yoga (the discipline of self- realization), karma-mimamsa (science of fruitive work) and vedanta (science of God realization). Pages:53-56
Suhas A. Vinchurkar, Deepeshwar Singh, Naveen K. Visweswaraiah, H.R. Nagendra and Ramachandra G. Bhat (Swami… |
Pages:57-59 Rakesh Bharti Yadav (S. K. Govt. P. G. College, Kanwali) Dominique Lapierre was born on July 30, 1931 in Chatelaillan, France. His first book was A Dollar for a Thousand Kilometers. His other works include Honeymoon Around the Earth, The City of Joy, Beyond Love, A Thousand Suns, Once Upon a Time in the Soviet Union, A Rainbow in the Night and India- My Beloved. He collaborated with Larry Collins to write Is Paris Burning, O Jerusalem, Or I'll Dress You in Mourning, Freedom at Midnight, The Fifth Horseman and Is New York Burning? In collaboration with Javier Moro he wrote Five Past Midnight in Bhopal. He was awarded the Padma Bhushan in 2008 by the government of India. Pages:57-59
Rakesh Bharti Yadav (S. K. Govt. P. G. College, Kanwali) |
Pages:60-63 Syed Daniyal Chishty (Research Scholar, Jaipur National University, Jaipur) Thus Sufism is an attitude of mind and heart towards god and problem of life. Sufism is one of the most dynamic and interesting dimension of Islamic religious and cultural expression. Sufism mysticism or Sufism (called tasawwuf in Islam), is the basic of all religions. The term Sufi is coined from SUFFA (purity). The word Sufi (suf) in Arabic means wool. Right from the times of the prophet Mohammad (peace be upon him and his companions there were persons who had discarded all worldly enjoyments and pleasures because of their sincerity and devotion in prayers and in following the command of god they were simple living and used to wear wool i.e. Suf and were called as Sufi. Sufism is thus a path where salvation is obtained by continuously remembering and worshipping god. Concentration in Sufism achieved either as a god gift or by spiritual practices to remember god in every breath. This requires purity, the purity of body and soul which helps in developing the concentration. This increase his efficiency, concentration and aptitude scientifically also proven if a man keeps his hand, face and feet, takes regular baths and wear clean clothes with no dirt he/she feels fresh and mentally cool. Theory of Sufism: The best way of approaching to god is the love with his creatures; this approach recognizes service to humanity. Pages:60-63
Syed Daniyal Chishty (Research Scholar, Jaipur National University, Jaipur) |
Pages:64-65 Kamal Rani (Vaish College, Rohtak, Haryana) Time is something inescapable Nobody can stop or arrest the passing of time. All human beings are slaves of time. But there is a deep truth underlying this paradox. The passage of time does not destroy everything because certain things are indestructible and imperishable. Infact, certain things acquire a greater validity, a greater weight and a greater solidity, in course of time. Two examples are the ancient Roman culture, and the ancient Indian culture. These two cultures still exist. The epigraph from Eliot reads: Pages:64-65
Kamal Rani (Vaish College, Rohtak, Haryana) |
Pages:66-67 Sandeep Gill (Department of English, Govt. College, Meham, Rohtak, Haryna) George Eliot has legitimately been called the first English novelist who introduced Psychology in her fiction. Although born in Victorian Period, Eliot established a new concept of writing, mixed psychology with realism of her childhood and adulthood memories under the pen name George Eliot. In the Victorian Era the female authors were published under their own names during Eliot's life, but she wanted to escape the stereotype of women only writing lighthearted romances. She also wished to have her fiction judged separately from her already extensive and widely known work as an editor and critic. An additional factor in her use of a pen name may have been a desire to shield her private life from public scrutiny and to prevent scandals attending her relationship with the married George Henry Lewes, with whom she lived for over 20 years. Pages:66-67
Sandeep Gill (Department of English, Govt. College, Meham, Rohtak, Haryna) |
Pages:68-70 Shalini Sharma (Department of English, MD University, Rohatk, Haryana) Globalization is the process of international integration arise from the interchange of product views, ideas and other aspect of culture. In this paper I am going to discuss the role of English as the global language and its impacts on my profession as an English teacher. English has roles as both an international and a global language. As an international language, English has played role as the tool of communication among people from different countries, in other words, English is used to bridge linguistic odd among people in international communities. Pages:68-70
Shalini Sharma (Department of English, MD University, Rohatk, Haryana) |
Pages:71-73 मंजु सांगवान (सहायक प्रवक्ता, हिन्दी विभाग, महिला महाविद्यालय झोझूकलां, भिवानी, हरियाणा) लोकतंत्र में विधयिका, कार्यपालिका एवं न्यायपालिका के बाद मीडिया को चैथा स्तम्भ माना जाता है। मीडिया में जहां समाचार पत्र , पत्रिका और रेडियो अपनी महत्वपूर्ण भूमिका निभाते हैं। वहीं आज के तकनीकी युग में टी.वी. , इन्टरनेट, सिनेमा भी बहुत अह्म स्थान रखते है। आजकल की युवा पीढ़ी अखबार पढ़ने के लि बहुत कम समय खर्च करते हैं जबकि टेलिविजन देखने और इन्टरनेट सर्फिंग के साथ अधिक समय बिताना संपद करते हैं। मीडिया का उद्देश्य सूचना, शिक्षा, मनोरंजन करना था। वहीं आज इसका उद्देश्य पूंजी कमाना और सबसे श्रेश्ठ व तेज होने की इच्छा दिखाई पड़ रही है। Pages:71-73
मंजु सांगवान (सहायक प्रवक्ता, हिन्दी विभाग, महिला महाविद्यालय झोझूकलां, भिवानी, हरियाणा) |
Pages:74-75 संकेत मीठारवाल (मकान नं0 621, सैक्टर-14, रोहतक, हरियणा) जैव विविधता किसी जैविक तंत्रा के स्वास्ट्रय का घोतक है। पृथ्वी पर जीवन आज लाखों विशिश्ट जैविक प्रजातियों के रूप में उपस्थित है। सन् 2010 को जैव विविधता का अन्तरराश्ट्रीय वर्श घोशित किया गया है। जैव विविधता एक ‘‘निओलगिज्म‘‘ और सूटकेस शब्द से , जीव विज्ञान और विविधता विज्ञान डिविजन के प्रकृति संरक्षण 1975 के अध्ययन में इस शब्द ‘‘प्राकृतिक विविधता का उपयोग किया है, संरक्षण प्राकृतिक विविधता की, ‘‘शबद जैव विविधता पहले भी इस्तेमाल किया गया था कि जैसे संरक्षण के वैज्ञानिको द्वारा राबॅर्ट ई. जेनकींस और थाॅमस लोवजोय शब्द जैव विविधता स्वयं विंग द्वारा त्वेमद में गढ़ा गया है मई 1985, जबकि राश्ट्रीय फोरम जैव विविधता के बारे में राश्ट्रीय अनुसंधान परिशद जो 1986 में आयोजित किया जाना था द्वारा आयोजित की योजना बना है और सबसे पहले 1988 में एक प्रकाशन में जब कीटविज्ञानी म्व् विल्सन है कि मंच की कार्यवाही के शीेर्शक के रूप में इसका इस्तेमाल किया दिखाई दिया। जैव विविधता और अधिक प्रभावी संचार की तुलना के संदर्भ में समझा गया था। जैव विविधता 1986 के आद से ठपवसवहपेजे के बीच व्यापक उपयोग प्राप्त कर ली है। शर्ते और अवधारणा, पर्यावरणवादियों राजनीतिक नेताओं और नागरिको का सम्बंध दुनियाभर में यह आमतौर पर प्राकृतिक वातावरण और प्रकृति संरक्षण के लिए एक चिन्ता करने के लिए समानता के लिए प्रयोग किया जाता है। Pages:74-75
संकेत मीठारवाल (मकान नं0 621, सैक्टर-14, रोहतक, हरियणा) |
Pages:76-78 सुनीता देवी (सहायक प्राध्यापिका, छाज्जु राम जाट काॅलेज, हिसार) विवेकानन्द को भारत में हिन्दू धर्म की महानता और सार्वदेशिकत में अखण्ड विश्वास था और वे ये कहते-अघाते नहीं थे कि ‘‘पृथ्वी पर ऐसा कोई धर्म नहीं है, जो हिन्दू धर्म के समान इतने उच्च स्वर से मानवता और गौरव का उपदेश करता हो।’ पर उन्हें पीड़ा इस बात की थी कि पाखण्डी पण्डितों और पुरोहितों ने धर्म के नाम पर स्वार्थ का विकास कर हिन्दू धर्म को कलंकित कर दिया, और इसलिए विवेकानन्द के मुख से ये शब्द फूट पड़े थे - ‘‘पृथ्वी पर ऐसा कोई धर्म नहीं है जो हिन्दू धर्म के समान गरीबों और निम्न जाति वालों का गला ऐसी क्रूरता से घोंटता हो। प्रभु ने मुझे दिखा दिया कि इसमें धर्म का कोई दोष नही है, वरन दोष उनका है, जो ढ़ांेगी और दम्भी हैं जो ‘पारमार्थिक’ और ‘व्यावहारिक’ सिðान्तों के रूप में अनेक प्रकार के अत्याचार के अस्त्र निर्माण करते हैं।’’ Pages:76-78
सुनीता देवी (सहायक प्राध्यापिका, छाज्जु राम जाट काॅलेज, हिसार) |
Pages:79-80 Anju Bala1 and Sarita2 (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana1 and VPO, Birohar, Tehsil, Jhajjar, Haryana2) दलित का अर्थ समाज के दबे कुचले वर्ग से लिया जाता है, किन्तु इधर कुछ वर्षाे से दलित का अभिधेयार्थ ‘अनुसूचित जाति’ तक सीमित रह गया है। दलित चेतना का तात्पर्य अनुसूचित जाति के युवको में अन्याय, शोषण, वर्ग भेद, जाति भेद के विरूद्व चेतना जाग्रत होने से लिया जाता है। वास्तविकता यह है कि दलित वर्ग के अन्तर्गत शोषित वर्ग के साथ - साथ आदिवासी, खेतिहर मजदूर, गरीब किसानों को भी सम्मिलित किया गया है भले ही वे किसी जाति के हो। दलित का तात्पर्य समाज के उस पददलित वर्ग से है जिसे सदियों से ‘अछूत’ कहकर उपेक्षित किया गया, हर प्रकार से उसका शोषण किया गया, उसे कोई अधिकार नहीं दिए गए, शिक्षा से वंचित रहा और उसकी इच्छा शक्ति को पनपने नहीं दिया गया। Pages:79-80
Anju Bala1 and Sarita2 (Village Mandhi Piranu, Mandhi Hariya, Charkhi Dadri. Bhiwani, Haryana1 and VPO… |
Pages:81-83 योगमाया भारद्वाज (प्रवक्ता, राजकीय कन्या महाविद्यालय, बवानी खेड़ा, भिवानी, हरियाणा) लोकगीत लोक साहित्य का ही पद्यबद्ध रूप है। यह अग्र्रेजीं के थ्वसा ैवदह का पर्याय है। लोक साहित्य में लोकगीतों की विशेष भूमिका होती हैं यह लोकगीत अपने समय तथा परिवेश का प्रतिबिम्ब तो होते ही हैं साथ ही मानवीय संवेदनाओं व भावनाओं की भी नैसंर्गिक अभिव्यक्ति होते हैं। समाज में संस्कार गीतो की एक समृृृृृृृृृृद्ध परम्परा होती हैं। हरियाणवीं लोक मानस् की जीवन्त अभिव्यक्ति यहां के लोक-साहित्य में देखने को मिलती है।लोकगीत लोक विषयक होते हैं इनमें लोक जीवन की झाॅकियां रहती है। ये जनसाधारण के भावों,विभिन्न प्रसंगों व परिस्थितियों से युक्त होते हैं। इस प्रकार जीवन के विभिन्न-पक्षों का स्वरूप इन गीतो में प्रतिबिम्बत होता है। इन्ही को हम लोकगीत कहते है। लोकगीतों का स्थान बहुत ही महत्वपूर्ण है। समस्त जनमानस एकाकार होकर उत्सव आदि प्रसंगों पर सहज, सरल, भावपूर्ण रीति से इन गीतोे को गाता है। भारतीय साहित्य की भांति हरियाणवी लोक साहित्य के अन्तर्गत लोकगीतों का क्षेत्र अन्यन्त समृद्ध व व्यापक है। इनकी उत्पति सभवत मानव-सृष्टि के साथ ही हुई होगी और सृष्टि के आदि में आज तक निरन्तर यह परम्परा अबाध गति से चली आ रही है। संस्कारो से ही संस्कृति बनती आ रही है। संस्कार गीतों को सुनकर किसी भी संस्कृति को जाना जा सकता है। हरियाणा प्रदेश के विवाह गीतों को हम दो पक्षों मेें विभाजित कर सकते है। कन्या पक्ष व वर पक्ष कन्या पक्ष के गीतो में रस की बहुलता होती है। जिसका कारण है कि जिस कन्या का माता -पिता में बड़े प्यार से पालन -पोषन करते है। वही सदा के लिए दूसरे के घर चली जाती है। दूसरे उसके सुख की चिंता माता-पिता को सताती रहती है। Pages:81-83
योगमाया भारद्वाज (प्रवक्ता, राजकीय कन्या महाविद्यालय, बवानी खेड़ा, भिवानी, हरियाणा) |
Pages:84-85 पूनम जोगपाल (वैश्य काॅलेज, भिवानी, हरियाणा) 1. परम्परात स्थानीय संस्थाओ में महिलाओं को कोई विशेष महत्व स्थान प्राप्त नही था। ऐसे बहुत से कारण थे जिन्होने ग्रामीण महिलाओ को समाज में आगे आने से रोका तथा उन्हे समाज में उचित स्थान न मिल सका। यद्यपि आरक्षण के कारण महिलाआंे को पंचायतो के अवसर प्रदान करवाएं। परन्तु आज भी महिलाओं को अपनी आवाज उठाने के लिए अनेक समस्याओं का सामना करना पड़ता है। समस्या के समाधान के लिए जो अवसर प्राप्त होते है या निर्णय लेने के लिए जो क्षमता चाहिए इसके लिए उन्हे एक विशेष नेतृत्व व निर्देशन की आवश्यकता होती है। जिससे महिला प्रतिनिधियों को सामाजिक आर्थिक व प्रशासनिक कमियो को दूर करने में सहायता मिलेगी। Pages:84-85
पूनम जोगपाल (वैश्य काॅलेज, भिवानी, हरियाणा) |
Pages:86-87 Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) वेदों, उपनिशदों, मनुस्मृति तथा भरतमुनि के नाट्य शास्त्र में ’लोक’ शब्द का विभिन्न अर्थों में प्रयोग मिलता है। संस्कृत की लोक (दर्शन) $ ध´ प्रत्यय से निशपन्न ’लोक’ शब्द का अर्थ है ’देखने वाला’1। इस अर्थ के अनुसार समस्त जनसमुदाय लोक की परिधी में आ जाता है। शब्दकोशों के अनुसार ’’लोक शब्द भूलोक, स्वर्गलोक, पाताल लोक अर्थात् चैदह लोकों तथा मानव जाति का ज्ञापक है। ऋग्वेद में ’देहिलोकम’ का प्रयोग हुआ है यहाँ लोकम् का प्रयोग स्थान के लिये हुआ है। वेदों में लोक दो प्रकार के माने है - पार्थव और दिव्य।1 डाॅ॰ सत्येन्द्र का मत है कि ’’लोक मनुश्य समाज का वह वर्ग है जो अभिजात्य संस्कार, शास्त्रीयता और पाण्डित्य की चेतना अथवा अहंकार से शून्य और जो एक परम्परा के प्रवाह में जीवित रहता है।2 Pages:86-87
Suman (Department of Hindi, Govt. College for Women, Hisar, Haryana) |
Pages:88-89 प्रवेश कुमार (शोधार्थी, हिन्दी विभाग, पंजाब विश्वविद्यालय, चण्डीगढ़) साहित्य और अन्य कलाओं मंे जो स्थान शिल्प का है, सिनेमा में वह स्थान फाॅर्मुला ने ले लिया। यहाँ फाॅर्मुला से अभिप्राय उन घटकों से है, जिनके आधार पर दर्शकों की भावनाओं को तुष्ट किया जा सके। तुष्टिकरण की इसी नीति पर सिने-निर्माताओं ने सफ़ल फ़िल्मों के कारक घटकों की पहचान की और उन्हें किसी-न-किसी रूप में आगामी फ़िल्मों में लागू किया। प्रारम्भ में फ़िल्मों के ये घटक उस युग की अन्य फ़िल्मों द्वारा अपनाई गई शैली पर आधारित थे। रूपवान अभिनेता, रूपवति अभिनेत्री, युद्ध के दृश्य, सुन्दर प्रति के दृश्य, भाग-दौड़, चमक-धमक लिये सैट, हास्य, तिलिस्म, घुड़-दौड़ या बैलगाड़ी दौड़, दिव्य चमत्कार आदि ऐसे पैटर्न थे, जो प्रायः सभी फ़िल्मों में फाॅर्मुला के रूप में शामिल किए गए। मूक सिनेमा के अन्त के बाद संगीत, नृत्य, संवाद, गीत आदि अत्यन्त ही सफल सिद्ध हुए। बिना गीत-संगीत किसी व्यावसायिक फ़िल्म की कल्पना भी सम्भव न रह गई। समय के साथ-साथ नए-नए फाॅर्मुला खोजे गए, जिन्होंने फ़िल्मों की सफलता में महत्त्वपूर्ण भूमिका निभाई और सिनेमा की व्यवसायिकता बढ़ती चली गई। Pages:88-89
प्रवेश कुमार (शोधार्थी, हिन्दी विभाग, पंजाब विश्वविद्यालय, चण्डीगढ़) |
Pages:1-9 Averi Mukhopadhyay (Department of Humanities and Social Sciences, IIT Roorkee, Uttarakhand “A novel, usually comic or satirical, in which the action is set within the enclosed world” of the academe “(university or similar set of learning) and highlights the follies of academic life”, is termed as 'campus novel' by Chris Baldick's in The Concise Oxford Dictionary of Literary Terms (33). Campus novel is a relatively new literary genre. Writings on universities and life within campuses existed but only as references in nineteenth century England in the works of the eminent Victorian novelists like Bulwer- Lytton, Benjamin Disraeli, William Thackeray, Charles Reade, Anthony Trollope, George Eliot, Samuel Butler and Thomas Hardy. Campus novels in the sense they are described above in The Concise Oxford Dictionary of Literary Terms, originated in America with Mary Mc Carthy's The Groves of Academe published in 1952. There was a surge in the production of campus novels as higher education increased rapidly in America and Britain after the end of the Second World War in 1945. Universities and colleges opened on a large scale and the objectives of these newly established educational institutes in both the countries, as Elaine Showalter has pointed out in Faculty Towers, were “first to absorb the returning veterans, and then to take in a larger and larger percentage of the baby- booming population” (1). “The famously overprotective parenting style of the baby boom generation”, remarks William Deresiewicz in his essay, “Love on Campus”, had in turn “put pressure on universities to revert to acting in loco parentis, forcing them to take on... paternalistic role” (42), and to create a complete society on the campus, with education, housing, meals, medical care, and social life all being provided communally and institutionally. As a result, close relations were also forged in such campuses between students and faculty, parents and administrator, lecturer and professor, male and female, Black and White, low caste and high caste. All these aspects inspired many, be it a student or a faculty member, to pen down their experiences in the campus. Pages:1-9
Averi Mukhopadhyay (Department of Humanities and Social Sciences, IIT Roorkee, Uttarakhand |
Pages:10-13 Ritu (Department of English, Indira Gandhi University, Meerpur, Rewari, Haryana) “In India we treat women strangely. We either worship them or we burn them.”(Shooting from the Hip 110) In these words Shobha De aptly describes the position of Indian women and the injustice meted out to them. Since ages women have been defined and modeled as per their appropriateness to male world. We have acknowledged a wide gap between the socially accepted role of man and woman. They both have some social responsibilities attached to them by birth, and these responsibilities set forth the discriminatory attitude of society. Man is believed to be the superior species, dominating other creations of God. Beauvoir perceives man-woman relationship as, “She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is the subject, he is the absolute she is the other.” (22) Women play a passive role at home, dominated by father, brother and husband. Women are always attached to home, domesticity and submissiveness. Pages:10-13
Ritu (Department of English, Indira Gandhi University, Meerpur, Rewari, Haryana) |
Pages:14-16 Ashish Sangwan (Department of English, Govt. Polytechnic, Lisana, Rewari, Haryana) India has the longest and the richest tradition in drama. The origin of Indian drama can be traced back to the Vedic Period. As a manifestation of our national sensibility Indian drama came into existence as a means of exploring and communicating the truth of things and was popularly pailed as the "fifth Veda" (K. Venkata reddy, R.K. Dhawan:7) During the age of the Vedic Aryans, drama was performed in a simple way. Different episodes from the Ramayana, the Mahabharta, and the Bhagavad-Gita were enacted out in front of people. Such type of performance is still very popular in India during the time of dussehra. Bharata's natyashastra in Sanskrit is the most pioneering work on Indian dance & drama. It displays consciousness of all major aspects of drama, namely stage-setting, music, plot construction, characterization, dialogue and acting. According to legend when the world passed from golden age to silver age, people started getting addicted to sensual pleasure and jealous, anger, and desire. Then Gods, demons, yakshas, rakshas, nagas inhabited the whole world. At that moment, Lord Indra requested God Brahma : Pages:14-16
Ashish Sangwan (Department of English, Govt. Polytechnic, Lisana, Rewari, Haryana) |
Pages:17-23 रीना शर्मा (हिन्दी विभाग, महर्षि दयानन्द विश्वविद्यालय, रोहतक) भारतीय साहित्य में ‘धर्म’ व ‘अर्थ’ को जीवन के चार उद्देश्यों में शामिल किया गया है, अतः साहित्य में धर्म व अर्थ दोनों का ही विशेष महत्त्व रहा है। ‘धर्म’ शब्द ‘धृ’ धातु में ‘मन’ प्रत्यय के योग से बना है जिसका अर्थ है-”जो धारण किया जाए।“1 कोशकारों ने धर्म को पुण्य, न्याय और आचार आदि का पर्याय माना है- ”धर्म पुण्ये यमे न्याये स्वभावाचार्योंः क्रतो।“2 ऋग्वेद में धर्म शब्द ‘धार्मिक विधि या क्रिया’3 ‘अखिल ब्रह्माण्ड में व्याप्त नियम’4 एवं ‘आचरण विषयक निश्चित नियम व सिद्धान्त’5 आदि अनेक अर्थों में प्रयुक्त हुआ है। उपनिषदों में ‘धर्म’ शब्द का प्रयोग साधु कर्म सत्कर्म अथवा पुण्य कर्म 6 लिया गया है। धर्म को परिभाषित करते हुए तुलसीदास जी लिखते हैं- ”परहित सरिस धर्म नहीं भाई। परपीड़ा सम नहिं अधमाई ।।“7 महर्षि जैमिनी ने धर्म को इस प्रकार परिभाषित किया है-”चोदनालक्षणोंऽर्थों धर्म“8 अर्थात उपदेश से आज्ञा से किंवा विधि से ज्ञात होने वाला श्रेययस्कर अर्थ ‘धर्म’ है। महर्षि कणाद ने धर्म को इस प्रकार परिभाषित किया है-”यतोऽभ्युदयनिः श्रेयस सिद्धिः सः धर्मः“9 अर्थात जिससे अभ्युदय और निःश्रेयस की सिद्धि (प्राप्ति) होती है वही धर्म है। Pages:17-23
रीना शर्मा (हिन्दी विभाग, महर्षि दयानन्द विश्वविद्यालय, रोहतक) |
Pages:24-26 प्रवेश कुमार (शोधार्थी, हिन्दी-विभाग, पंजाब विश्वविद्यालय, चण्डीगढ़) हमारे समाज में, जहाँ सभी प्रचलित विमर्शों मंे स्त्री-विमर्श सर्वाधिक सक्रिय विमर्श के रूप में उभर कर सम्मुख आया है, वहाँ पुरुष-विमर्श की बात करना प्रथम दृष्टि से हास्यास्पद प्रतीत होता है। कुछ विद्वान इसे स्त्री-विमर्श के प्रतिवाद के रूप में देखते हैं और नारी-सशक्तिकरण का विरोधी मानते हैं। परन्तु इस सत्य को नहीं नकारा जा सकता कि हमारे सृजनात्मक एवं आलोचनात्मक साहित्य, मीडिया और सिनेमा आदि जनसंचार के माध्यमों में पिछले कुछ वर्षों से पुरुष-विमर्श की एक क्षीण-सी धारा प्रवाहित हो रही है। भूमंडलीकृत यथार्थवादी हिन्दी सिनेमा ने भी जहाँ स्त्री-विमर्श को समर्थन दिया है, वहीं पुरुष-विमर्श को गति देने में भी अपनी भुमिका निभाई है। भूमंडलीकृत यथार्थवादी हिन्दी सिनेमा में पुरुष-विमर्श को समझने से पूर्व पुरुष-विमर्श के औचित्य पर विचार करना समीचीन होगा। Pages:24-26
प्रवेश कुमार (शोधार्थी, हिन्दी-विभाग, पंजाब विश्वविद्यालय, चण्डीगढ़)
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Pages:27-30 सुमन (हिन्दी विभाग, राजकीय महिला महाविद्यालय, हिसार, हरियाणा) मीरा का काव्य, प्रेम, सौन्दर्य, संयोग और वियोग की भावनाओं से आद्यन्त आप्लावित है। उसमें आराध्य का नख-शिख वर्णन तथा वर्णनात्मक बाह्य जगत् का विवरण कम और अनुभूति चित्राण प्रधान रूप से पाया जाता है। मीरा के कीर्तन प्रधान, राग-रागिनी समृद्ध पदों में ‘नारीत्व’ के अकृत्रिम विरह, मिलन और पे्रमोद्गारों की प्रचुरता पाई जाती है। उनमें बौद्धिक कलाबाजी और काल्पनिक उड़ान की छाया तक नहीं दीखती, न अलंकारियों की सी अलंकारप्रियता ही कहीं दृष्टिगोचर होती है। उनके सभी पद स्वभावोक्ति की चरम सीमा को छूते से जान पड़ते हैं, अतः अलंकार प्रिय पंडितों उक्ति, फ्कविः करोति काव्यानि, स्वादं जानन्ति पंडिताः मीरा के काव्य की कसौटी नहीं हो सकती। उसमें तो हृदय का हृदय से व्यापार प्रधान है। ‘काव्य ग्राह्यं अलंकरात्। सौन्दर्य म्लंकारः।’ काव्य के शारीरिक सौंदर्य का समर्थक है और उससे वामन का प्रयोजन काव्य के मूत्र्तरूप-शब्द विन्यास- से है, किन्तु इस बाह्य के भीतर जो आन्तरिक प्राण प्रतिष्ठा का सौन्दर्य है, अभिव्य ंजन कौशल का जादू है, उसकी घोषणा कुन्तक ने ‘वक्रोक्तिः काव्य जीवितम्’ के रूप में की थी। रसानुभूति के क्षेत्रा में शाब्दिक-व्यंजना से ध्वनि व्यंजना की ओर किया जाने वाला यह महत्वपूर्ण संकेत है। पफलतः फ्वाक्यं रसात्मकं-काव्यम्य् कहकर साहित्यदर्पणकार कविराज विश्वनाथ ने रस को ही काव्य की आत्मा के रूप में प्रतिष्ठित किया था। यही ‘रस’ मीरा के काव्य की आत्मा में लबालब भरा हुआ है। मीरा के काव्य की कसौटी यही फ्रस तत्वय् है, उसका मूल उत्स, स्वरूप और प्रभाव दो दिशाओं में, दो रूपों में पाया जाता है।1 Pages:27-30
सुमन (हिन्दी विभाग, राजकीय महिला महाविद्यालय, हिसार, हरियाणा) |
Pages:31-33 सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, आर्य नगर, हिसार, हरियाणा) भाशा विचारों को व्यक्त करने का एक सहज एंव सशक्त साधन है। प्रत्येक लेखक अपने लेखकीय दायित्वों का निर्वाह करते हुए अनायास ही उस भाशा की सरंचना करने लगता है, जो उसके भावों एंव विचारों को मूर्त रुप में प्रस्तुत कर सके। उपन्यास के विभिन्न तत्वों में भाशा शैली का महत्वपूर्ण स्थान होता है। भाशा के माध्यम से अभिव्यक्त होकर ही लेखक के विचार पाठक तक पहुॅंचते है। यदि भाशा प्रौढ़ एंव प्रवाहपूर्ण होगी तो रचना के प्रति पाठक का आकर्शण बढ़ेगा। अतः सफल साहित्यकार वही है जिसका भाशा पर पूर्ण अधिकार हो। दूसरे शब्दों में भाशा ऐसे शब्दांे का समूहों का नाम है जो एक विशेश क्रम से व्यवस्थित होकर मन की बात दूसरों के मन तक पहुॅंचाने और उसके द्वारा उसे प्रभावित करने में समर्थ रहती है। इसलिए भाशा का मूल आधार शब्द है। जिन्हें उपयुक्त रीति से प्रयुक्त करने के कौशल को ही शैली का मूलतत्व समझना चाहिए। अर्थात् किसी लेखक या कवि की शब्द योजना, वाक्याशों का प्रयोग, वाक्यों की बनावट उसकी ध्वनि आदि का नाम ही शैली है। शैली के कारण लेखक की अपनी पहचान बन जाती है। भाशा, प्रसंग, पात्र एंव परिवेश के अनुरुप होनी चाहिए। संस्कृत गर्भित, तत्सम् शब्दावली से पूर्ण परिनिश्ठित साहित्यिक भाशा और बोलचाल की सामान्य भाशा, उपन्यासकार किसी भी भाशा का प्रयोग उपन्यास में कर सकता है। Pages:31-33
सरोज बाला (गवर्नमेंट सीनियर सैकेण्डरी स्कूल, आर्य नगर, हिसार, हरियाणा) |