CS Unit -1

Hello learners, This blog is part of my academic activity. So,let's starts with introduction...

 Introduction :

Unveiling the Dynamics of Power: Navigating the Forces That Shape Our World.

Embarking on a journey through the intricate tapestry of our lives, we encounter a ubiquitous force—power. Often elusive and misconstrued, it intricately molds our experiences and opens or closes doors of opportunity. Join us in this exploration of power's essence, its roots, and the cultivation of our aptitude in comprehending its intricacies.

Decoding the Essence of Power :-

At its core, power is the force that empowers one to influence others and realize personal goals. Its diverse manifestations include physical force, wealth, status, knowledge, and relationships. The dynamic nature of power necessitates a nuanced understanding, as it can be wielded for both benevolent and malevolent purposes, shaping our ability to engage meaningfully in society.

Eric Liu's Six Fountains of Power :-

Physical Force: Mastery in using violence or coercion to accomplish objectives.

Wealth: Ownership of financial resources capable of purchasing influence and other forms of power.

State Action: Governmental authority to legislate and enforce laws.

Social Norms: Shared expectations and values steering our behavior.

 Ideas : Potent concepts motivating individuals to transform their thoughts and actions.

 Numbers: The collective power of a large group, exerted through their unified voice and actions.

 👉 Three Laws Governing Power According to Liu :-

1. Power is Never Static: It perpetually shifts and flows.

 2. Power is Like Water: It courses through our lives, with politics guiding its direction.

 3. Power Compounds: It generates further power.

Principled Power Utilization

In wielding power, adherence to personal values and a dedication to social justice should serve as guiding principles. Striving to harness our power to shape a more equitable and just world becomes our collective responsibility. The intricate and multifaceted phenomenon of power becomes decipherable through an exploration of its sources, laws, and dynamics, empowering us to be catalysts for positive change within our communities.

The Impact of Political Power: Navigating Biases and Fostering Critical Judgment

In the intricate realm of political power, a potent force unfolds, shaping not only our thoughts and emotions but also influencing our behavior. This influence, however, comes at a cost to our judgment, rendering us susceptible to biases and misinformation.

The Role of Partisanship

Our allegiance to a specific political party or group, known as partisanship, amplifies this impact. Strong alignment with a particular side tends to paint the world in binary colors, causing us to interpret information in a manner that aligns with our pre-existing beliefs.

Challenges Arising from Political Influence

Cognitive Dissonance: Confronted with conflicting information, we may experience psychological discomfort, leading us to rationalize or dismiss the information to alleviate this unease.

Confirmation Bias: We gravitate towards information that supports our existing beliefs, potentially causing us to overlook or downplay information that challenges our convictions.

Groupthink: In group settings, there's a tendency to conform to the collective beliefs, even if we privately disagree, often resulting in suboptimal decision-making.

Navigating the Impact

In our increasingly polarized society, awareness of the influence of political power on our judgment is paramount. Mitigating this influence involves:

Self-awareness of Biases: Recognizing and acknowledging our own biases is the first step in gaining control over them.

Critical Thinking and Fact-Checking: Rather than accepting information at face value, questioning assumptions and engaging in evidence-based discussions are crucial for informed judgment.

Identifying Misinformation: Developing a healthy skepticism towards information that aligns too seamlessly with our beliefs or seems too good to be true.

Embracing Diverse Perspectives: Being open to differing viewpoints, even when in disagreement, fosters a more constructive societal discourse.

By embracing these steps, we not only become more discerning and critical citizens but also contribute to the cultivation of a society that thrives on informed and constructive dialogue.

Unveiling the Influence: Noam Chomsky's Take on Media Manipulation

Envision a world where news isn't a mere conveyor of information but a meticulously crafted tool shaping opinions and controlling thoughts. In Noam Chomsky's groundbreaking work, "Manufacturing Consent," he paints a stark picture of a reality where media, owned by a select few powerful corporations, serves as a means to promote their interests while silencing dissenting voices and sidelining alternative perspectives.

Chomsky's Core Concepts

Concentration of Ownership: A handful of corporations wield significant control over media outlets in developed nations, granting them unparalleled influence over public opinion.

The Propaganda Model: Chomsky introduces the idea that mass media operates as a propaganda tool, strategically working to manufacture consent for the existing societal structure. This involves the selective presentation of topics, framing of issues, and filtering of information.

 Advertising Revenue Dynamics: As businesses reliant on advertising revenue, media outlets are incentivized to cater to elite, affluent audiences. This demographic, in turn, is more likely to engage with the advertised products and services.

 Exclusion of Dissent: Dissenting voices and alternative perspectives are often sidelined or excluded from mainstream media. This serves the purpose of maintaining the status quo and shielding the elite's agenda from scrutiny.

While Chomsky's work has earned acclaim for its incisive analysis of the media landscape and its critique of mass media's role, it has also faced criticism for its seemingly pessimistic outlook and a perceived lack of solutions to counter media manipulation.

Whether in agreement with Chomsky's conclusions or not, "Manufacturing Consent" stands as essential reading for those seeking to comprehend the profound influence of media and its intricate impact on society.

Chomsky vs Foucault: Exploring the Roots of Human Nature

Picture two realms: one where human nature forms the bedrock of culture, and another where culture molds human nature. In the first realm, innate traits shape human interactions, while in the second, cultural structures craft individuals, and nature emerges from these frameworks.

Enter the intellectual clash between Noam Chomsky and Michel Foucault, each advocating a distinct worldview. Chomsky contends that human nature is universal and static, while Foucault posits that it's socially constructed and in constant flux.

Divergent Perspectives on Human Nature

Chomsky's Universality: Chomsky asserts that the human capacity for language is evidence of an innate nature. Universal features shared by all languages, such as complex sentence formation, point to common mental structures inherent in humans.

Foucault's Cultural Construction: Foucault counters, arguing that language is a product of culture. Diverse languages across cultures with distinct rules and conventions suggest that language is not a universal trait but a socially constructed tool.

 Implications Across Domains

Chomsky and Foucault traverse a spectrum of topics—language, cognition, politics, and society—each interpreting these through the lens of their foundational beliefs.

Nature vs Nurture Debate

The crux of their debate delves into the intricate interplay of biological and social factors in shaping human nature. Chomsky asserts the primacy of biological factors, deeming culture a reflection of our innate nature. In contrast, Foucault places emphasis on social factors, viewing human nature as socially constructed and in perpetual evolution.

 Unraveling Complexity

The ongoing dialogue between Chomsky and Foucault illuminates the multifaceted nature of human existence. It underscores the intertwined roles of biology and society in shaping our identities, leaving us with the intriguing question: which factor exerts a more profound influence?

While a conclusive answer eludes us, the insights from this intellectual discourse enhance our understanding of the intricate forces that contribute to defining who we are.

Noam Chomsky's Vision of Genuine Education: A Paradigm Shift

Envision a world where education goes beyond rote memorization and embraces the cultivation of critical thinking, problem-solving, and innovation. According to Noam Chomsky, true education is not about being a walking encyclopedia; it's about empowering individuals to question, think independently, and make informed decisions.

Chomsky draws inspiration from Wilhelm von Humboldt, an Enlightenment-era figure who believed that fulfilled individuals possess the capacity to inquire and create constructively, unencumbered by external constraints. Additionally, Chomsky shares the perspective of a contemporary physicist, underscoring the importance of what students discover over what is merely covered in classes.

Both viewpoints underscore the significance of independent inquiry and creativity in the educational process.

Chomsky's argument is clear: genuine education goes beyond the accumulation of facts. It involves knowing where to seek information, formulating meaningful questions, and challenging the status quo when necessary. True education is about developing critical thinking skills and the ability to navigate the complexities of the world.

This vision of education, according to Chomsky, spans from early childhood to advanced levels. It emphasizes nurturing independent inquiry, creativity, and self-directed learning throughout an individual's educational journey.

Crucially, Chomsky recognizes that true education is a collaborative endeavor. Working cooperatively and in solidarity with others enhances the pursuit of knowledge, fostering innovative solutions and a more enriched learning experience.

Beyond individual growth, true education becomes a vehicle for societal betterment. It's a call for liberation from indoctrination, a plea to embrace independent thought and creativity. Chomsky envisions a world where everyone has the opportunity to reach their full potential, contributing to a more just and equitable society.

In essence, Chomsky's vision paints a picture of education not as a mere transfer of information but as a transformative journey, empowering individuals to shape a brighter collective future.

Conclusion :

In conclusion, delving into the perspectives of Noam Chomsky on political power and education unveils nuanced insights that provoke contemplation. In his exploration of political power, Chomsky challenges us to scrutinize the influences that shape our judgment, emphasizing the need to be vigilant against biases and misinformation. The examination of media manipulation and the concentration of power forces us to reconsider the dynamics at play in our increasingly polarized society.

Shifting gears to Chomsky's vision of true education, a profound paradigm emerges—one that transcends the mere accumulation of facts. True education, as envisioned by Chomsky, is a holistic journey that fosters critical thinking, independent inquiry, and collaborative learning. It is a call to liberate minds from the chains of conditioning and embrace the transformative power of knowledge.

In both realms, whether navigating the intricacies of political power or reimagining education, Chomsky's perspective serves as a catalyst for introspection and action. It beckons us to question, to think independently, and to contribute collectively to a more just and equitable world. As we grapple with these profound ideas, the enduring challenge lies in applying these insights to shape a society that values informed citizenship, critical discourse, and the continual pursuit of genuine understanding.

Cultural study in practice

 This is my academic thinking activity. We have a very interesting subject to study. That is cultural studies, in which I am going to practice cultural studies in William Shakespeare's Hamlet and Andrew Marwell's "To His Coy Mistress".

• Two character in Hamlet : Marginalized with a Vengeance 

                   Through the power relationship's lens Hamlet is studied in  Cultural studies. How power works in the whole play, so let's see Hamlet with a view to seeing power in its Cultural context.

                  

                  Rosencrantz and Guildenstern, Hamlet's fellow students from Wittenberg. If we look at how power works then we can say that they are eager to curry favor with power even if it means spying on their erstwhile friend. Both characters are marginalized people.

They are the pawns for Claudius first, for Hamlet second.

              So, they are pawns, sponges and monkey food, the message of power keeps coming through. But their more constant motive is to please the king, the power that has brought them here.

              In the twentieth century the dead or never living, Rosencrantz and Guildenstern were resuscitated by Tom Stoppard. In his  famous absurd play " Rosencrantz and Guildenstern are Dead " has given the contemporary audience a player that examines existential questions in the context of a whole world that may have no meaning at all. In Stoppard's  version also they are even more obviously two ineffectual pawns, seeking constantly to Know who they are.

So here Stoppard  was not repeating that story but through that story  he notes that the essence of marginalization is here in this view Rosencrantz and Guildenstern are Archetypal human beings.

Example : 

In Indian democracy we find that those people who don't get any power are marginalized by powerful people. Indian poor people who don't speak out. Currently one incident is happening in Ahmedabad. There is an opening ceremony of Motera stadium at that time America's president Dronald Trump is coming for this ceremony for 3 to 4 hours. So the slums are living in the nearby area in  Motera stadium. So here  45 families are living in this area, and they all get eviction notices. But the power who doesn't accept all the things. The government doesn't think about that slum , what are their problems. What will they do ?

             

Whether  slums are happy with this decision or not. They don't think about it. The voiceless poor people are today's marginalized people.

Ahmedabad Municipal Commissioner Vijay Nehra (click here to know more : https://indianexpress.com/article/cities/ahmedabad/ahmedabad-slum-amc-motera-stadium-6276587/)  told The Hindu that the “decision to build a wall to prevent encroachment on the road was taken two months back” and has nothing to do with the visit of U.S. President.

“It is not correct to link the building of the wall to the VIP visit. After my visit to the area, we had decided in consultation with slum dwellers to build a wall to prevent encroachment and secondly to save trees which were getting damaged,” Mr. Nehra said.

•  "To His Coy Mistress": Implied Culture Versus Historical Fact :

                 The poem  "To His Coy Mistress" written by Andrew Marwell.  We know that  the speaker is knowledgeable about poems and conversations of classic Greek and Roman literature, about other conventions of love poetry ,such as the country love conversations of medieval Europe and about biblical passages. 

                Jules Brody Posits " Implied readers " . In this poem we point out how  the writer expresses his views in which event. He has thoughts about love , beauty and wealth rather than  current issues at that time , what is the reality of the society. He was not talking about reality and the history of the era but he showed implied Culture over reality. For this we don't conclude that he was not a good poet and knowledgeable person, but he was a highly educated person, one who is well read.

In a way the poem tells the reader a good deal about the speaker  of the poem , much of which is already clear from earlier comments  in this volume, using traditional approaches. In this poem might appear to be the Culture and the era of the speakers,his lady and his implied reader. 

In every literary work we find glimpses of the particular era. But in this poem he has not expressed the real Culture of the age but there is implied Culture. But he explained  wealth and leisure and sexual activity are his currency , his coin for present bliss worms and marble vaults and ashes are not present, hence not yet real.

But What does he ignore from his Culture? What is the history of the time?

He does not think about poverty. During this era at least one quarter of the European population was below the poverty line. 

Don't think of disease as a daily reality  that they might face.

In the consideration of Historical reality , a dimension that the poem ignores. The probable time of composition of the poem in the early 1650s. At that time a recurrence of the Black Death, in the Great Plague of London.

Everyday life is absent in this poem. It was for elite people, not about the whole society.

Thank you for visiting my blog.

Paper no.201

 Name : Riddhi H. Rathod

Roll no : 17

 Paper : 201 (Indian English Literature – Pre-Independence)

Topic : Karna and The Three Curses 

Sem. : 3

Email i'd. :- riddhirathod1213@gmail.com 

Submitted to: Smt S.B. Gardi Department

Introduction :-

The Mahabharat which is the longest epic in the world, speaks of a time in ancient India when the rulers of the sub continent's innumerable kingdoms allied themselves with the two warring factions that laid their claim over the throne of Hastinapur. The finest warriors of the day, namely, Arjuna - contemporary India's foremost archer, Bhima - the man with supreme physical prowess, Yudhistir - the defender of Dharma, Duryodhana - the adversary of Pandavas and Bhishma - the protector of the king of Hastinapur fought in a fierce battle that is said to have lasted for 18 days. However among the galaxy of stars that fought on the dusty grounds of Kurukshetra, there was one who shone more brighter than the rest on the horizon of Indian mythology. Although he ended up dying on the battlefield at the hands of his own brother Arjuna, Karna is widely considered by many, including Krishna and Bhishma as per Valmiki's Mahabharat, as a noble spirit who rarely appears in the human race. Inspite of devoting his services to evil Duryodhana, Karna remains an adulated figure for millions of Hindus and Indians. He is specially adored for his generosity and always considered as a formidable warrior, perhaps the greatest warrior of all time, a courageous spirit who braved impossible odds in his life, and died with unique courage, valour and honour.

While Karna remains to be one of the most celebrated personalities of Hindu mythology, very few people are aware of the fact that he had learnt the art of warfare and mastered deadly weapons under the able tutelage of Parashuram. Karna who was brought up by Adhirata, a charioteer of the king Dhritarashtra of Hastinapur, after being abandoned by his mother, Kunti, aimed to be a skillful fighter. As such he went to Dhronacharya, who was in-charge of training the princes of Hastinapur, both Kauravas and Pandavas, in the art of warfare and diplomacy. However, Dhrona refused to accept him as his disciple citing his low caste as the reason. Karna, like he did so many times throughout his life, fought all odds and decided to be self-taught with his brother, Shrona's help. In accordance with the ancient tradition that one must learn any art form only under a guru, Karna decided to make Surya his teacher. Such was the dedication of this man that he gathered information about various ayudhas (weapons) during the day and then after sundown, he exercised them. Although he achieved expertise in handling many weapons, Karna became more interested in learning all the advanced skills of archery including the use of divine weapons.

In a bid to fulfill his dream of being among the best fighters of his generation, Karna decided to approach Parashuram. However, Parashuram was only known to accept Brahmins as his students. Disciples like Gangaputra Bhishma and Dhronacharya had made Parashuram proud earlier and Karna longed to make this great saint, his tutor. As such, he was not going to make his low social status the reason for being turned down by Parashuram. Karna appeared before the sage as a Brahmin. Parashuram accepted him and trained him to such a point, that he declared Karna to be equal to himself in the art of warfare and archery. Thus, Karna became a diligent student of Parashuram.

 Legend has it that one day while his teacher was resting on his lap, Karna was stung by a giant bee on his thigh. Despite the excruciating pain, Karna did not move so as not to disturb his guru's sleep. As the bee bored deeper into Karna's thigh, the wound began to bleed. Parashuram was woken up by the blood from Karna's thigh. He soon realized that Karna was a not a Brahmin as no one in the priestly class could bear the gruesome pain for such a long time. Thus, Parashuram, who had sworn vengeance against all Kshatriyas, concluded that Karna lied about being a in order to learn from him. So, he cursed Karna that his martial skills including the use of Brahmastra would desert him when he needed them most. This in turn meant that Karna would forget all that he had learnt from Parashuram during his hour of crisis. Karna, who was unaware of his royal lineage, pleaded with his master that any student in his place would have acted the same way.

While he regretted cursing Karna in a moment of anger, Parashuram's curse was irrevocable. He, gifted Karna with a celestial weapon called Bhargavastra along with Parashuram's personal bow called Vijaya and blessed him that in the end, Karna would achieve what every mortal aspires the most - everlasting glory and immortal fame. In fact mythological sources say that it was the king of Gods - Indra who had stung Karna in the form of the bee so that he would be cursed by the great sage. The same Indra later exploited Karna's generosity and took away the the Kavacha (body armour) and Kundana (ear rings) that virtually made Karna invincible. It is beyond any doubt that had Indra, father of Karna's sworn enemy, Arjuna, not interfered in the matter, Arjuna would have never been able to beat Karna.

Dejected at being cursed by his own Guru, Karna is said to have wandered in the forests. While he was practising the 'Shabdavedi Vidhya' (art of hitting the target by detecting the source of sound), he mistook a Brahmin's cow for a wild animal and shot it. Enraged, the Brahmin cursed Karna that as he had killed a helpless animal, he too would be killed when he was the most helpless, when his concentration was diverted from his enemy.

However putting these things behind him, Karna went on to become the King of Ambha (modern Bhagalpur) after he impressed Duryodhana when he surpassed Arjuna's feat in a tournament held by Dhrona in Hastinapur to display the skills that he had given to the Kuru princes. This event established key relationships in the Mahabharat, namely, the strong bond between Duryodhana and Karna, the intense rivalry between Karna and Arjuna, and the enmity in general between the Pandavas as a whole and Karna.

Sometime later, when he was on a tour of his new kingdom, Karna is said to have encountered a girl who was crying out of fear of her step mother since her ghee had fallen to the ground. Being generous enough Karna told her that he would give her new ghee. But, the child insisted that she wanted only the ghee that was mixed with the soil and refused to take the new ghee. Taking pity on the girl, Karna took the soil mixed with ghee in his fist and squeezed it with all his might to extract the ghee and pour it back into the pot. However, Bhoomi Devi (Mother Earth) was furious at him for hurting her for the sake of a mere child. So, the Earth goddess cursed him that in a very crucial battle of his life, she would trap his chariot wheel in the same way that he held the fistful of soil, thereby making him vulnerable to his enemy.

Thus, Karna was cursed on three separate and independent occasions. Unfortunately, each of these curses became operational at the same crucial moment in the Kurukshetra war, later making him weaponless, left without a chariot and helpless.

On the sixteenth day of the great battle of Kurukshetra, Karna led the Kaurava army. He first defeated the might Bhima but spared his life saying that he was elder to Bhima. Later he went on to beat Yudhistir but left him alive saying that "It seems that you have forgotten all the teachings which your guru has taught you, so first go and practice those and then come to fight". 

Also he defeated the twins, Nakul and Sahadev but didn't kill them as he had promised Kunti that he would not kill any of the Pandavas except for Arjuna. Then Karna proceeded towards Arjuna and unleashed the deadly weapon, Nagastra at him. But Krishna, like he had done so many times in the past, saved him from what would have been sure death.

On the seventeenth day, the much anticipated contest between Arjuna and Karna took place. Though the duel was initially held at a stalemate, Karna was hampered when his chariot wheel sank into the ground in loose wet soil (Bhoomi Devi's curse thus came into effect). He also found himself unable to remember the incantations for divine weapons, as his teacher Parashuram had foretold. Descending from his chariot to remove the wheel, he requested Arjuna to wait until it is set right as per the rules of battle. Krishna told Arjuna that Karna has no right to refer to the rules at this point, after having violated the same himself while killing Abhimanyu. He urged Arjuna to kill Karna while he was helpless (Brahman's curse came into effect here). Lord Krishna told Arjuna that if he did not kill Karna at this critical juncture of the war, he might never be able to kill him and the Pandavas may never win the war. Thus, Arjuna fatally injured Karna using a divine arrow.

It is believed that on the night before his death, Karna's guru, Parashuram appeared to him in his dreams. He is said to have told Karna that he was well aware of Karna's caste when he had approached him to become his disciple. Yet, inspite of his vow, he agreed to teach Karna, a Kshatriya, as he was fully aware of Karna's capability and impeccable character. Parashuram went on further to explain the reasons for him cursing his own disciple. Parashuram said that if Karna would not die then the Kauravas would have won the battle and the Earth would be ruled by Duryodhana. As such, Adharma would prevail and people would have suffered in his reign.

Conclusion:-

Though the three curses and interventions from Indra and Kunti led to his death on the battlefield, Karna achieved the feat of immortality as foretold by his guru, Parashuram. His generosity and the manner in which he carried himself throughout his life is praised several times in mythology and literature. Thus though he allied with evil out of gratitude towards his friend Duryodhana, he is even today, revered to as one of the greatest man to have participated in the Great War. In fact, Karna, more than anyone else, is the true hero of the Mahabharat.

Words- 1742

Images- 04

References :-

Doniger, Wendy. "How to Escape the Curse." Review of The Mahabharata, translated by John Smith. London Review of Books (2009).

Hiltebeitel, Alf. "Krishna in the Mahabharata: The Death of Karna." Krishna: A Sourcebook (2007): 23.

Kotru, Umesh, and Ashutosh Zutshi. Karna The Unsung Hero of the Mahabharata. Leadstart Publishing Pvt Limited, 2015. Accessed 29 November 2023.

Paper no.202

 Name : Riddhi H. Rathod

Roll no : 17

 Paper : 202 (Indian English Literature – Post-Independence)

Topic :  Saleem as the representation of the postcolonial India

Sem. : 3

Email i'd. :- riddhirathod1213@gmail.com 

Submitted to: Smt S.B. Gardi Department

INTRODUCTION :-

"Midnight's Children" by Salman Rushdie is a captivating and award-winning novel that intricately weaves the personal and political narratives of India's post-colonial history. The story unfolds through the life of Saleem Sinai, born at the precise moment of India's independence in 1947, and follows the fates of other children born in that first hour, each endowed with unique, supernatural abilities. Rushdie skillfully blends historical events with magical realism, creating a narrative that reflects the diversity of India's culture, religions, and languages. Against the backdrop of significant moments in Indian history, such as the partition, Emergency era, and Bangladesh Liberation War, the novel explores the complexities of identity and the challenges of building a cohesive nation. "Midnight's Children" has received critical acclaim, winning the Booker Prize in 1981 and later the "Booker of Bookers" as the best novel from the first 25 years of the Booker Prize. Beyond its literary achievements, the novel has sparked both admiration and controversy, cementing its status as a landmark work in contemporary literature.

• Saleem as the representation of the postcolonial India

The story of Saleem Sinai is the story of postcolonial India. The exact moment of his birth was 15 August 1947, at the stroke of midnight. This moment completely coincides with India’s gain of its independence from Britain. His birth ties him closely to the country’s fate and future. Accordingly, his life is a reflection of the country’s ups and down, good times and bad times. “More than a mirror of India, Saleem is the multitude of India.”

During the first hour of independence, 1001 children were born, all of them with astounding magical powers. The closer to midnight the child was born, the more magnificent and extraordinary their power was. 581 midnight’s children were alive by the time Saleem discovered their special gifts. His was the gift of telepathy, he was able to enter other people’s minds and get to know their most intimate thoughts, emotions and desires. Saleem’s gift of telepathy allows him not only to immerse himself into the minds of other midnight’s children, but also into India itself, he is connected to the country through his gift. He is able to hear all of India, through all of its diversity, including different religions. Midnight’s children are the most exquisite reflection of India itself. They represent the main characteristics of Indian country – the diversity and plurality. They are all different, they all come from different backgrounds, religions, but they are connected to each other by the precious gifts that they own, gifts which are not always a blessing. “The children of midnight were also the children of the time: fathered, you understand, by history. It can happen. Especially in a country which is itself a sort of dream.” The children are embodiment of the country, of the nation, of its present and its future. Owing to his own special power, Saleem organizes a Midnight’s Children Conference, so they all meet in his mind for one hour every day. Shiva, who was born at the exact same time as Saleem, has the power of war. He suggests to Saleem that they should be the leaders of the group, which Saleem rejects, wishing for the group to have a greater purpose. Saleem and Shiva, both being born at midnight, represent the contrasting personalities. Shiva is named after the God of destruction, while Saleem represents Brahma, the God of creation. Shiva’s personality stems from his upbringing, he was born into great poverty, he was expected by his father to be a beggar, so a lot of his personal frustration and anger can be justified. They together manifest the core differences striking India – rich and poor, Hindu and Muslim. “If Saleem embodies the Indian history of pluralism, Shiva embodies India’s parallel history of oppression and intolerance.”

India had very high expectations of its newly acquired freedom. The “Times of India” announced a prize for any child born at the exact moment of independence. India manifests its hopes for a better future through its celebration of the independence. People are ecstatic, glorious celebrations are organized, and Saleem himself receives a letter from Jawaharlal Nehru, the prime minister, who predicts Saleem’s connection to the country:

“Dear Baby Saleem, My belated congratulations on the happy accident of your moment of birth! You are the newest bearer of that ancient face of India which is also eternally young. We shall be watching over your life with the closest attention; it will be, in a sense, the mirror of our own.”

These words turned out to be prophetic, as his life is the mirror of the country in a metaphoric way. However, at the very same night, Shiva, Wee Wilie Winkie’s son was born. Mary Pereira, Saleem’s future nanny, swaps the babies at birth, in the memory of the man she loved, the revolutionary Joseph. She believed that the actual conflict in India was not between the Hindus and Muslims, but between the rich and the poor, so she wanted to do her part in mending social injustices. Therefore, Saleem’s birth mother was Hindu and she died while giving birth to him, and his real father was William Methwold, a British with whom his mother had an affair. Instead of growing up in a poorHindu family, Saleem was the privileged boy swapped at birth and grew up in a wealthy Muslim family. Saleem’s family background makes him the perfect paradigm of India and all its inner conflicts since he, in a way, comprised in himself everything that was bothering India at the time, having the British father, Hindu mother, but being brought up in a Muslim family. He is the principal symbol of India’s diversity and plurality.

 When Parvati gets pregnant with Shiva who completely abandons her after hearing the news, Saleem agrees to be the father to her child, as in this case the child would be entitled to their actual grandparents. At midnight on 25th of June, the Prime Minister declares a State of Emergency, allowing her to arrest her opposition and censor the media. At the same moment, Parvati’s son is born, continuing the tradition of grand events of Indian history corresponding to major events in Saleem’s life. They lived in the magicians’ ghetto when the soldiers broke in and killed most of the people residing there. Saleem was captured by Shiva and taken away to Indira Gandhi’s imprisonment. Saleem tells his interrogators about the rest of the midnight’s children and all of them undergo the sterilization process which results not only in the loss of their reproductive powers, but also in the loss of their magical powers. Saleem’s birth represents the creation of Midnight’s Children, while his son’s birth represents their destruction.

While Saleem was born at the time of great optimism and hope for the Indian country, his son was born at the State of Emergency, at the time of despair and chaos. However, even though all the magical powers of the Midnight’s Children are gone, Saleem’s son magical powers remain. He has big ears, and his power is the ability to hear his father’s story. Aadam’s first word, “Abracadabra”, symbolizes that the magic is not dead just yet, it survived in the new generation of Midnight’s Children. At the end of their lives, Shiva and Saleem seem to be restored to the destinies they should have had. Shiva, a child who should have been born wealthy, lived a life of a struggling poor man, but eventually became rich and respected. Saleem, who should have been born poor, lived an affluent life to end up being poor with no house and no family. By destroying Midnight’s Children, Indira Gandhi destroyed the hope for the better future, she ruined the best embodiment and characteristic of India, its diversity.

Midnight’s children posed a threat to her because they were different, “Was the M.C.C. an institution of tremendous promise, or was it rather the vehicle of the children’s eventual undoing? Was Saleem, as its founder, their saviour or their betrayer? Was the break-up of the M.C.C., of Saleem, of India itself, the end of possibility, a tragedy to be averted at all costs, or was it, on the contrary, an opportunity to be welcomed? Like many others in Midnight’s Children, the answer to all these questions is – well – both. And yet, from Saleem/Salman’s personal perspective, it comes down quite clearly on one side.” Considering the fact that Saleem is the metaphor of India, he himself could be blamed for the tragedy that befell the country resulting in the destruction of everything and everyone that is unique and different. He was the one who excluded Shiva from the M.C.C. which caused Shiva’s personal vendetta that ultimately brought the Midnight’s Children to an end.

 Before his death, Saleem claimed that his body would dissolve into 630 million pieces, which was approximately the population of India at the time the book was written and published. In this way, Saleem also represents not only the Indian country but also each and every citizen of India, in all of their differences and diversities. Having told his story, his purpose is fulfiled, therefore he does indeed fall apart into as many pieces of dust as there are people in India. India has always been a country which includes many different nationalities, religions and cultural influences. However, managing all these distinctions proved to be very challenging, as even India itself ended up in many conflicts and wars over them. Hence, it is only logical that Saleem, the paragon of India’s complexities and contrasts, having no solution for India’s unity has to disappear and evanesce. The novel ends on a very pessimistic note. As Trousdale notes: “Saleem seems to deny that it is possible to unify or represent India.”

However, we should not allow the tragedy of Saleem’s character to go in vain. At the time when he had no more magical powers and he could not save India, he did the best he could do – told his story. It is now up to us, the readers, to keep his story alive and to learn from it. The book gives the analysis of Indian history. The evidence we receive – Saleem and his feelings, emotions, memories, the stories he heard about and the stories he found out about using his gift – are all subjective. We do not receive any hard specific evidence in the book, which makes the story more personal and closer to the readers. “Even though Saleem is cracking into as many pieces as there are Indians, as there are stories to tell, he has successfully told his story – imperfect, unreliable, distorted, needing endless revising to be sure – but nonetheless triumphantly his own.”

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Reference :-

Priya, Rashmi. "Midnight’s Children: A Study in Postcolonial Perspective."

Srivastava, Neelam. Secularism in the postcolonial Indian novel: National and cosmopolitan narratives in English. Routledge, 2007.

David Price "Salman Rushdie's Miahight 's Children" Ariel25:2, April 1994 

Mary Gabbett, and Bret Love. “Salman Rushdie on India's Struggle for Independence & Midnight's Children.” Green Global Travel, https://greenglobaltravel.com/salman-rushdie-midnights-children-movie. 

Paper no.204

 Name : Riddhi H. Rathod

Roll no : 17

 Paper : 204 (.Contemporary Western Theories and Film Studies)

Topic : Technocultural and Risk

Sem. : 3

Email i'd. :- riddhirathod1213@gmail.com 

Submitted to: Smt S.B. Gardi Department

· INTRODUCTION:

                                                               UlrichBeck propounded the influential ‘Risk society’ thesis in Risk Society: Towards a New Modernity (1992) and later works (1995, 1997). Risk, Beck informs us, is not real, risks are about ‘becoming real’. As soon as risks become real, they cease being risks, and become, instead, disasters. Risk then get displaced to other ‘Sites’: future disasters. So, risks are potential disasters and how risk is relevant with techno culture is important.

We live in an increasingly technologied world. Global capitalism- the immediate geopolitical context of our nation-state run on the engines of information and communications technology. Our everyday life from shopping to education depends heavily on technology, with greater or lesser degrees of both efficiency and necessity. Further, as 9/11 and its aftermath demonstrated so clearly, everyday life is vulnerable to technological threats, and these threats real or imagined, such as weapons of mass Destruction (WMD) are solved using more technological system and machine (smart bomb, electronic surveillance system), which in turn generate more threats/risk.

· Technology helps in various fields:

Today, we see that technology is replacing humans in many areas, like jobs and even offering emotional support. Humans get tired, make mistakes, and take breaks, but technology and robots don't need any of that. They can work all the time without making mistakes. Technology is a one-time investment, while humans need to be paid every month. Also, technology can do double the work of a person in less time and without any fuss. That's why everyone finds technology an easy and better choice.

                                                              We use technology in education, shopping, banking etc. In educational area now most of the study based on Online, with the help of Laptop, mobile etc. Virtual classrooms are introduced E-book are available. In agriculture many new facilities came through technology, we are using cell phone, laptop and other social media for communication like Facebook, Twitter, whatsapp etc in our everyday life. Our banking system also connected with technology, we use technology to transact money through E-banking and through ATM. In shopping field also we use various electronic cards to purchase new thing and our hospitals also connected with technology.

· Thus, technology played a very important role for human progress as well as for the nation. People of the 21st century will not survive without technology, every moment we need technology to stay with the world and be a member of the Global world.

Our prime minister also launched the campaign ‘Digital India’ on 1 July 2015, and gave much importance to technology, and tried to make India digital. Through this kind of various programs, the Govt. of India hopes to achieve growth on multiple fronts. Government aims to target nine ‘Pillars of digital India’ like Universal access to the internet, E-Governance, E-Kranti, IT for jobs etc. The Govt. of India launched many applications like E-Hospital, SBM-mobile app, My Gov.in etc.

· Each coin has two sides:

                                            Technology provides us with so many facilities and without any problem we can do all our work easily. But with technology various types of risk are also connected and many disadvantages also, but sometimes it depends on people how they use them.

· Techno-culture and Risk:

                           With the use of Technology various types of risk are connected, for example.

· PC/LAPTOP-

                        PC and Laptop both devices are very helpful nowadays. Both the devices provide solutions to numerous problems of communication, writing and information etc. But it also gives some time problems like, corruption of the hard drive, some time virus problem we face. So, this all is a risk while using technology. But it also offers solutions, like downloading anti-virus software and updating your laptop and PC. Thus, both risk and solution are connected.

· CCTV Camera-

                         CCTV cameras are a very helpful device, nowadays in each and every public place and at different places this type of camera is used well. It helps a lot for security, proof and use well in various ways. But when we are under this CCTV Camera at that time we are always much conscious of that and we have some type of risk like what about our privacy?

· Pendrive:

                  Pendrive is very little e-device, but with the help of this we can carry a lot of things from one place to another. But risk also risks, for example when we have presentations in our department, generally we use pendrive and at that time it may corrupt and our all data might be lost. So, this is a big risk in technology.

· Online shopping:

                                                             Nowadays, online shopping has become a craze. But when we ordered at that time we had one risk, which type of things we ordered the same we would get but many times it would change when we received it. So, this is a risk for us that we don’t get exactly what we want. So, this kind of risk we face from market.

· Terrorism:

                    Terrorism is always very harmful to human being and nowadays they also use technology because many of them are very well educated and masters in technology so this kind of terrorism very risky for society and the world.

· Facebook:

                   Recently, we have seen that people’s personal information and data leak through facebook applications and a lot many debates or cases are going on about the safety of people’s privacy. Thus, we may say that this kind of social media is risky for people’s privacy and risk for society.

· Culture of Warning:-

                                     Now we all are living in the culture of warning. In various fields like banks, railway coaches, malls and any place you find warning against all sorts of dangers and risks. It happens because the excessive amount of technological and mediated information is being made available to us about the potential of risk from every object like food, use of credit card, infection, molestation, kidnapping etc.

We find this kind of risk in various advertisement like that many advertisement talked about this kind of things if you don’t use, you become ill, or it is not good for your health and that’s why use this, for example- AquaGuard, in this add, they say that this is best for pure water. Hence, we think that if we don’t drink this kind of pure mineral water then we become increasingly anxious about potential threats to our health and safety precisely when we are fed information from technology.

In the use of the internet, we always have a problem with privacy. Because we always worry about our private or personal documents and other things which we put in our laptops or cell phones. So, we are always at risk.Cultural values and norms are influenced by technology. Rapid changes can lead to a loss of cultural identity or a shift in societal values. For example, the widespread use of social media has changed how we perceive privacy and interpersonal relationships.

When children use technology at that time we also have risks. Especially, parents feel moral panic as technology engenders risks while simultaneously providing solutions to such a risk. Thus, we know how technology and risk both are connected. So it is like a ‘vicious circle’. Techno science reveals the risk involved in contamination and other newer problems which were previously unknown, it also delivers information about these risks. Then it reproduces the risk by making us aware of these risks. So, techno-science generated the risk.

Risk theory for cultural studies reveals the extent that society/culture thrives on risk, providing information about risk potential, possible solutions and so on. Risk theory reflects on the psycho-social impact of techno-culture where cultural responses to new devices are based upon awareness that they create new risk. So, we think about what the solution to this problem is. But there is no solution. But as per Beck’s point of view that the autopoietic (self maturity) risks culture. When a system generates risk and its possible solution within itself.

Swati Chaturvedi, an investigative journalist, courageously wrote "I Am Troll" in 2016, revealing how technology poses risks in both society and politics. The book delves into the Bharatiya Janata Party's (BJP) use of social media to target political rivals. It highlights BJP's strategic use of Twitter as a weapon, employing both volunteers and paid staff to spread fake news and support their political agenda. This book sheds light on how the BJP became the first political party to effectively leverage social media for its own advantage.

Robot movie 

In the Movie Robot, we also find that Rajnikant made a Robot but at the end how this robot became risky for him. Same way in the novel Frankenstein by Mary Shelley in which Victor survives a dead body with the help of human beings from the electricity and in the end he turns into a Monster.

 Technoculture and risk are intricately woven into the narrative. The film is set in a future where robots are an integral part of daily life, performing various tasks to enhance human convenience. The technocultural aspect is evident in the societal integration of robots, which reflects a cultural shift towards embracing advanced technology as a routine part of existence.

The risk element surfaces as the robots, governed by the Three Laws of Robotics, start exhibiting behavior that challenges the safety and well-being of humans. The very technology designed to serve and protect humanity becomes a potential threat. This dynamic illustrates the inherent risks associated with relying on complex technological systems, especially those driven by artificial intelligence.

As the plot unfolds, the protagonist, Detective Del Spooner, played by Will Smith, investigates a robot's involvement in a crime. This exploration delves into the ethical implications of AI and the potential consequences of entrusting critical aspects of human life to machines. The fear of losing control over advanced technology and the unintended consequences of its integration into society form a central theme, emphasizing the need for caution in the rapid advancement of technoculture.

The movie prompts viewers to reflect on the balance between embracing technological progress and safeguarding against the risks it poses. It serves as a cautionary tale about the importance of ethical considerations, oversight, and the potential consequences of ceding too much autonomy to intelligent machines within a rapidly evolving technocultural landscape.

2.0 movie :-

Climate Change :- The use of technology and its impact on the environment is a significant technocultural risk. The reliance on fossil fuels and other environmentally harmful technologies has led to climate change.

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Paper no.203

 Name :- Riddhi H. Rathod 

Roll No.: 17

Enrollment No.: 4069206420220025

Paper no: 203

Paper name:- Postcolonial Studies 

Sem: 3 (Batch 2022- 2024)

Email i'd:- riddhirathod1213@gmail.com 

Submitted to: Smt S.B. Gardi Department

• Postcolonialism in Bollywood movies 

Introduction :-

Post-colonialism is a period of time after colonialism, and post-colonial literature is typically characterized by its opposition to colonial postcolonial literature that often focuses on race relations and the effects of racism.

Postcolonial studies is concerned, as the chapter on theories explores, the oppression of the non-European races by European ones, Cultural studies in a globalised age also needs to be conscious of the racial zed nature of globalized/globalizing culture. That is the theme of race and unequal relations has to be worked into any analysis of global cultures. 

Certainly, let's delve into the key term of "Postcolonialism" in detail:

1. Definition:

   - Postcolonialism refers to the academic and theoretical framework that examines the social, cultural, economic, and political effects of colonialism and imperialism after the colonized societies gained independence.

2. Historical Context:

   - Emerged as a distinct field of study in the mid-20th century, coinciding with the wave of decolonization after World War II.

3. Deconstruction of Colonial Narratives:

   - Postcolonialism aims to deconstruct and challenge the dominant narratives constructed during the colonial era, often told from the perspective of the colonizers.

4. Identity and Hybridity:

   - Explores how colonial encounters shape and reshape identities. The concept of hybridity is central, emphasizing the blending of cultures and identities in the postcolonial context.

5. Power Dynamics:

   - Analyzes power structures, both during colonial rule and in the postcolonial era, examining how power continues to operate through economic, political, and cultural means.

6. Othering:

   - The process of "Othering" involves defining one's own identity by contrasting it with the perceived inferiority of the colonised "Other." Postcolonial theorists explore how this process contributes to stereotypes and marginalisation.

7. Subaltern Studies:

   - Focuses on the voices and experiences of marginalised and oppressed groups, often referred to as the "subaltern," who were excluded from mainstream historical narratives during colonialism.

8. Nationalism and Anti-Colonial Resistance:

   - Examines the role of nationalism and anti-colonial movements in the struggle for independence, as well as the complexities and challenges that emerged in the postcolonial period.

9. Language and Literature:

   - Postcolonial scholars analyze how language and literature are used to resist, reclaim, and renegotiate cultural identities. This includes examining colonial literature and the emergence of postcolonial literature.

10. Globalization and Neocolonialism:

    - Explores how globalization perpetuates neocolonial power dynamics, with former colonies often remaining economically dependent on former colonizers or powerful global institutions.

11. Cultural Imperialism:

    - Investigates how cultural imperialism persists in the form of media, popular culture, and Western ideologies, influencing the perceptions and values of postcolonial societies.

12. Intersectionality:

    - Considers the intersection of various forms of oppression, such as race, class, gender, and ethnicity, recognizing that individuals experience multiple layers of marginalization.

13. Postcolonial Literature and Cinema:

    - Examines literary and cinematic works produced in the postcolonial context, analyzing how they engage with and challenge colonial legacies.

14. Decolonization:

    - Beyond political independence, postcolonialism explores the ongoing process of mental, cultural, and economic decolonization, acknowledging that true liberation goes beyond formal sovereignty.

Postcolonialism provides a critical framework for understanding the enduring impact of colonialism on societies and individuals, examining issues of power, identity, resistance, and cultural transformation in the aftermath of colonial rule.

Now, let's discuss postcolonialism in bollywood movies.

New York movie :-

Director : - Kabir khan

Produced by :- Aditya Chopra, Sri Rao

Written by :- Sandeep Srivastava

Release dates :- 26 june, 2009

In a New York-based movie exploring post-colonial themes, the narrative could intricately dissect the ramifications of historical colonization on the city's social fabric. The film may delve into the experiences of communities that have been historically marginalized or displaced, shedding light on their struggles for identity and agency. It could portray the persistence of colonial legacies in socio-economic disparities, cultural hierarchies, and power structures within the urban landscape. Themes such as gentrification might be explored, illustrating how certain neighborhoods undergo transformations that echo the historical patterns of colonization. Characters could grapple with the complexities of heritage and assimilation, highlighting the tension between preserving cultural identities and adapting to the cosmopolitan nature of New York. Through nuanced storytelling, the movie could offer a poignant commentary on the lasting impacts of colonialism, fostering a deeper understanding of the city's diverse inhabitants and their interconnected histories. 

Lagaan :-

Director: Ashutosh Gowariker

Produced by: Amir Khan and Mansoor Khan

Written by: K. P. Saxena

Release dates: 15 June 2001.

Lagaan means “tax” – the tax paid by Indian subjects to their British overlords; and the film Lagaan, set during the Victorian era, is about a tax revolt by overburdened villagers. The tax revolt crisis leads to a cricket match challenge between the villagers, who have never played the game before- led by Amir Khan, in the role that propelled him to stardom- and the British. It’s a feel- good movie on a grand scale about national pride made by the same director as Jodha Akbar, Ashutosh Gowariker, but earlier in his career. It’s great to watch post-colonial people talking about pride in their culture and history, even if it means playing up stereotypes and formulaic plot lines.

 Amir Khan is awesome. An analysis of the use of cricket metaphor in Ashutosh’s film indicates how cricket, the once proud cultural form of colonial Britain, is subverted in such a way that it becomes a tool for decolonization. According to Appadural, “decolonization is a dialogue with the colonial past, and not a simple dismantling of the colonial habits and modes of life”. This treatment of cricket, which is more of an appropriation of a reality that is fundamentally colonial in character than of a rejection of the reality, provides important insights into the tension between colonialism and post colonialism his appropriation problematizes the conception of a dichotomous relationship between colonialism and post colonialism and introduce a sense of historical continuity to the broader picture of which the phases of colonialism and post colonialism are part. It introduces a perspective that recognizes certain possibilities for post colonialism in colonialism and an element of colonialism in post colonialism.

Lagaan is a massive film and it has a lot of relevance to my literary studies, so I have an inclination to talk of it like a work of literature within the realm of British colonialism- Indian nationalism and postcolonial discourse. Lagaan’s engagement in themes of nationalism, colonialism and reverse colonialism came out more than was healthy. Aamir himself says, is always entertainment at its heart. 

Lagaan is an intellectual interest in colonial British India and subsequently postcolonialism. Lagaan is, perhaps above all other things, a story of Indian nationalism in rejection of British colonial control. In order to save their village, which is being taxed to the point of starvation, a group of men band together to fight against the odds and play a game they don’t understand against their English overlords. It isn’t necessarily nationalism in the strictest sense because it is limited mostly to one village with some other characters, like the Sikh Deva, joining from elsewhere- but I consider it a representative microcosm at the very least as Indians come together across class boundaries in the united defence of their land.

If you want to understand cricket- and even more, if you want to understand some of the attachment of Indians to cricket- Lagaan is a good place to start. Talking about cricket is also a good place to start with Lagaan. Coming into the film with knowledge of cricket isn’t necessary but if you don’t like cricket, you may want to beware. There is much more to the film than cricket- in fact, cricket is just the vehicle of the film’s greater colonial themes.

Lagaan also points to the dichotomy of cricket with reference to colonialism. It is both a rejection of and a lingering attachment to the British Raj. It offers both the chance to beat the coloniser at his own game and the chance to join the coloniser’s game, playing by his rules. This is what I consider one of the most fascinating lingering effects of colonialism on India: the fervent, fanatical, almost religious attachment that Indians have to a game given to them by colonialism.

  Lagaan perhaps seeks to point out a reason for this fanatical attachment that seems to defy logic. It began as a way to best the colonial. The men become so familiar and obsessed with the game in their intense desire to beat the British. The film also contains several Indian characters who at first play along with the British colonials for various reasons, most of whom are not faulted for their association with the British.

 All, however, ultimately find that their allegiance is to their countrymen, and the expression of their shifted loyalties all comes out within the heat of the cricket match. Three such characters fill this “wavering Indian'' role: Lakha, who spies on the Indian team for the British because of his personal hatred for Bhuvan; Ram Singh, who acts as an aide and translator until he is struck at the match by Russell; and the provincial Raja, who throughout occupies a precarious position that straddles the two worlds. If themes of colonialism pervade and consume even the sports match in Lagaan, the film’s love story is also able to evade the trappings of reverse colonial discourse. 

The religious story is added perhaps as an attempt to distance the Bhuvan Elizabeth relationship from its actual basis in racialized reverse- colonial politics. It is an attempt to make sense of a relationship that is about colonialism without using colonialism; in other words, it’s trying to disguise the fact that it is about race and colonialism by using religion as an alternate framework.

Lagaan creates a real character facing pressure from overhead to collect more taxes and increase a grip on the peasants- a pressure he in turn takes out on those beneath him. Russell also has a real family in Elizabeth, a sister who runs off to teach his enemies how to beat him in the cricket match that his career rides on. Irony for Russell and his single minded colonialism comes at the film’s end, when he is shipped off to central Africa. There, of course, Russell will continue to participate in colonialism, but among peoples even darker-skinned and more violent than the Indians.

Namastey London:-

"Namastes London" is a Bollywood film released in 2007, directed by Vipul Amruta Shah. While the movie primarily falls within the romantic comedy genre, it does touch upon themes that can be analyzed through a postcolonial lens, particularly in the context of diaspora and cultural identity.

The film follows the story of Jasmeet "Jazz" Malhotra, an Indian woman born and raised in London, who is forced into an arranged marriage with an Indian man, Arjun Singh. The narrative explores the clash of cultural values and the challenges faced by individuals caught between the traditions of their homeland and the realities of life in a Western society.

In a postcolonial context, "Namastey London" reflects the experiences of the Indian diaspora and the negotiation of identity in a foreign land. Jazz's struggle with her Indian identity in London and her eventual reconciliation with her roots highlight the complexities of cultural assimilation and the tension between tradition and modernity.

The film also touches upon stereotypes and prejudices faced by individuals of South Asian descent in the West. Arjun Singh, the male protagonist, faces cultural misunderstandings and racial biases, providing a glimpse into the postcolonial experience of Indians living abroad. Additionally, the movie portrays the notion of reverse migration, where characters return to India from the West, shedding light on the changing dynamics of global mobility and the reconnection with one's homeland in a postcolonial world.

While "Namastey London" may not explicitly engage with postcolonial theory in an academic sense, its narrative elements and thematic exploration align with some key concerns of postcolonialism, such as cultural identity, diaspora experiences, and the impact of colonial history on contemporary lives. The film offers a popular culture representation of the complexities faced by individuals navigating the intersection of Eastern and Western cultures in a postcolonial context.

English Vinglish Movie :

  

"English Vinglish" provides a nuanced exploration of postcolonial themes, particularly through the character of Shashi. The film subtly critiques the enduring colonial legacy of English as a symbol of prestige and power in India. Shashi's struggle with the language mirrors the societal pressure to conform to Westernized norms, highlighting the complex interplay between tradition and modernity. Her journey represents a narrative of cultural hybridity, embodying the clash between her traditional Indian identity and the expectations imposed by a language inherited from the colonial era. 

Beyond linguistic proficiency, Shashi's pursuit of English becomes a quest for empowerment and self-worth in a society where certain languages and cultures have historically been marginalized. The film challenges stereotypes associated with women, portraying Shashi's transformation as a breaking of traditional gender roles. Additionally, "English Vinglish" touches on the impact of globalization, suggesting that English proficiency can open doors to global opportunities. In essence, the movie weaves a tapestry of postcolonial discourse, using Shashi's personal journey to illuminate broader societal issues shaped by the colonial past in a changing, globalized world.

1) Hindi films being financed by non-resident Indians.

2) Hindi films and their popularity in other countries where both non-resident Indians and others watch them.

3) The stage shows performed by Hindi film stars abroad, extending Bollywood culture in other ways.

Conclusion:-

The Lagaan film is set in the Victorian period of India’s colonial British Raj. Blood Diamond films are rare these days. We see films that are set in Africa, which show the poverty, dictatorship, conscription, war and pain of a nation. Thus, we can say that Lagaan and Blood Diamond these two movies are related to postcolonialism and cultural studies.

References:-

Farred, Grant. "The double temporality of Lagaan: Cultural struggle and postcolonialism." Journal of Sport and Social Issues 28.2 (2004): 93-114.

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