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From Rodion and Ivan to Fyodor: Understanding characterization in Bungo Stray Dogs using Polyphony and Cognitive Dissonance
No full textThe timelessness of Dostoevsky’s work was understood as Asagiri presented his new interpretation based on the amalgamation of Ivan and Rodion through his character Fyodor. The aim is to understand the characterization and the underlying guilt of Rodion, Ivan and Fyodor as they mirrored each other. This is achieved through the analysis of Mikhail Bakhtin’s Problems of Dostoevsky’s Poetics and Leon Festinger’s theory of cognitive dissonance. Rodion, Ivan and Fyodor suffer from cognitive dissonance which is used to analyse the motivation that drives Fyodor to erase abilities from the Bungo Stray Dogs Universe. The three texts, Crime and Punishment, The Brothers Karamazov and Bungo Stray Dogs are analysed in the paper. The article brings out the paradoxical nature of the characters and the ways in which they had tried or had been trying to reduce their internal anguish
Reading Dystopia in Sukriti Tripathi’s The Underwater Giants and Other Stories
Full text linkNOAA Ocean Exploration. "Deep-Sea Biological Discoveries: Celebrating 20 Years of NOAA Ocean Exploration." NOAA Ocean Exploration, https://oceanexplorer.noaa.gov/20years/biology.html. Accessed 1 June 2025.
Singh , Ravindra Pratap. “Technology and Culture: Ruminations on Marshall Mc Luhan’s ‘The Mechanical Bride’”. IJLHE: International Journal of Language, Humanities, and Education, vol. 7, no. 1, June 2024.
Singh , Ravindra Pratap. “Reading Taboos as Allegory in O.P. Vijayan’s The Saga of Dharmapuri”. Journal of Applied Cultural Studies, Institute of Cultural Studies Adam Mickiewicz University Poznań. Poland. Vol.1/2015.
Tripathi, Sukriti. “The Underwater Giants and Other Stories”. Shabdankur Prakashan, New Delhi, 2024
Divine Aesthetics: Bhagavad Gita\u27s Path of Dharma, Devotion, and Rasa
No full textThis paper investigates the deep and lasting influence of the Bhagavad Gita on Indian aesthetic theory and practice. It intertwines duty (dharma) and devotion (bhakti) in a transformational framework for grappling with ideals of heroism, beauty, and universality in emotional experience expressed through art. The study reveals how the text\u27s grounding philosophy aligns with and enhances the Natyashastra\u27s aesthetic theory—especially leading to the development of shanta rasa (peace)—through symbolic and allegorical modes. Central to this analysis is sadharanikarana (universalization), through which the Gita moves transcendentally from individual emotional experience to universality. At the heart of the poorvapaksha (initial argument) is the interpretative brilliance of classical aestheticians like Abhinavagupta, which positions the Gita as a foundational text that continues to feed the very lifeblood of Indian aesthetic theory and artistic practice. The investigation shines a spotlight on the vision of aesthetic experience that the text, with its vast philosophical depth, has gifted to India—a vision that has decidedly transformative spiritual potential
Sant Kabir, Tulsi, and Krishna: A Comparative Study of the Doctrine of Karma and Philosophy of Life
Full text linkThis paper is a critical analysis on the comparative study of Sant Kabir, Tulsi and lord Krishna’s doctrine of Karma and the philosophy of life. The mystic poet- Sant Kabir in his works, Goswami Tulsidas in his Ramcharitmanas, and Lord Krishna in the Bhagavad-Gita, describe their doctrine of karma and their philosophy. Obviously, all the three figures from distinct historical and philosophical traditions—Krishna representing the Vedic and Upanishadic spiritual wisdom of karma, jnana, and bhakti, Tulsidas representing his staunchest devotion to lord Ram, and Kabir representing the Bhakti and Sufi influences look bifurcated on the fundamental spiritual principles. Krishna propounds karma as selfless action (Nishkama Karma) performed without expectation of due results. He raises points for duty (Dharma) according to cosmic order, emphasizing devotion (Bhakti), knowledge (Jnana), and disciplined action (Karma Yoga) as pathways to liberation (Moksha). His philosophy focuses on the realization of the Supreme Self (Brahma) and blind submission to the divine will, going beyond worldly illusions of human need and greed (Maya). Tulsi is of the view that everything is to be done according to the layout prepared by lord Rama. Tulsi is of the view that the word is action-oriented and says that as you sow so shall you reap. Kabir, on the other hand, criticises ritualistic practices and social divisions, urging individuals to seek inner realisation of the Divine through love and direct experience of one’s own. He perceives karma as an internal force which creates human destiny but at the same time he believes in the transformative power of devotion and self-awareness over mere actions. His philosophy is beyond religious dogma, more with formless, omnipresent God (Nirguna Brahman) that can only be realized through personal spiritual awakening. This study highlights their philosophical intersections and differences towards life, revealing how their teachings provide profound insights into the nature of karma and life
Weird Musings by Dalip Khetarpal
Full text linkWeird Musings by Dalip Khetarpal, Global Fraternity of Poets: Hisar, ISBN: 978-9383755608, 2018, Pages-110
Sociolinguistic Analysis of Nigerian English As A Product of Language Contact
Full text linkThe worldwide spread of English language as one of the most prominent linguistic reality of our time is attracting international interest and scholarly attention. Designations such as World Englishes, New Englishes, Modern English, West African English, Australian English and Indian English have gained prominence in linguistic domains. The phrase ‘Nigerian English’ has also surfaced in the last five decades or so. The purpose of this paper is to investigate language contact and how it has led to the emergence of Nigerian English as a product of language contact and the main characteristics of the progeny of such a linguistic union. The paper also reappraises the argument surrounding the existence or non-existence of a distinct variety of English known as ‘Nigerian English’. Consequently, literary texts representing the three major speech communities in Nigeria- Hausa, Yoruba and Igbo were linguistically analyzed alongside a review of scholarly inputs on language contact and Nigerian variety of English which has evolved as a product of language contact and the extent of such contact further determine the variety of Nigerian English obtainable among different speakers in the different speech communities across the country
Intersecting Feminism, Power, History, and Myth: Unveiling Empires in Salman Rushdie’s Victory City
Full text linkEmpires are built and dismantled, and when you excavate a bit in history, you will find that these very forces upon which they are supposed to rest and upon which they should be, are strangely relied on to build and rule them. That is a plot device of the crashing and the coalescing of civilizations. The concept of a lasting empire has been a long time interest among the strong powers of the world. Another grand creation of Salman Rushdie is Bisnaga, fictional name and resemblance of Vijayanagara Empire, in his novel, Victory City. It is attributed to Pampa Kampana, a poet, prophetess, and perhaps architect of a whole world that no longer exists, as attributed with magical powers of varying divinity. The book creates a rich tapestry of ideas which influence commoners and kings with cultural and political influence. The multilayered narrative structure of Rushdie makes it possible to explore the magic realism in a dense way and the plot of the story is even more immersive. One of the main themes is the same due to the female navigations of patriarchal society, their survival among them and hard work to save their unique identities. That is a thread which continues to sound in the novel. I am trying to analyze the intersection of feminism, power, myth and history in the narrative of Rushdie, to reveal the intricate interconnection between the concepts in the context of his novel, Victory City
Mapping English Poetry from Bihar: A Snapshot of Twenty-Two Swans in the Lake of Life
Full text linkThis paper maps English poetry from Bihar highlighting twenty-two poets who have made Bihar speak its rich tradition of quest and cultural ethos. Though this poetry has its roots in local soil, it transcends the local boundaries and becomes universal by virtue of its fusion of cultural rootedness, philosophical questionings and modern poetic expressions. Thematically and technically, this poetry is rich enough to quench the thirst of readers across the globe by its universal concerns of life, death, love, society and spirituality. Babu Avadh Biahri Lall, R. K. Singh, Prabhat Kumar Singh, Pashupati Jha, Punita Jha, C. L. Khatri, Kalpna Singh-Chitnis, Binod Mishra, Tabish Khair, Sumirasko, Bhaskarananda Jha and Abhay Kumar are some of the significant English poets who have touched almost every aspect of life—be it social, political or religious or cultural. 
OWLFAHC Hall Episode
Full text linkThis satirical tragedy of one act stings us in Owlfahc Hall at Campus de Barbarians, when we get to imagine that we are being subjected to a book-reading when that, in fact, is not happening, but rather exposing the degree of the rifts in our own schools. The face cream and the evergreen and the on screen volunteers dig straight out on censorship, how our voices are muted and how the fear machine of the administration is hyped. They make jokes that seem like a strange amalgamation of humor and sadness, it is obvious that the university is showing a show of intellectual buzz but conceals blatant authoritarianism around every corner. In the background, meanwhile, there is a lot of back-and-forth talk which increases the criticism: Prof. Mangru and Prof. Khairu are playing the imitation of the sycophantic culture supposedly buzzing as OWLFAHC (“Organizer Who Loves Flattery And Hates Chivalry”). Then there is a younger couple of Batuk and Kautuki pushing through the straining relationship that is essentially a reflection of how the emotional bondages with the institution hold us together. Meanwhile, two scholarly figures Billy and Nilly sneak in and discuss beauty rituals as though they are the real performances, ridiculing how the university is so preoccupied with empty chatter rather than with actual education. All culminates in a head clash between a heroic Teacher and the Head of the Department. The Head becomes all complacent regarding his patronage connections and how he has undermined merit, and the Teacher defends himself-- screaming that the thing is knowledge and that you cannot put it out with decadence. When the Teacher eventually accuses the fear and flattery in the last act, the entire colonialism air of our academic space actually bursts open, and the scene is concluded with a call of integrity, resistance, and actual intellectual freedom