Assignment paper no : 7. Rasa Theory

Assignment 

Name :  Pina Gondaliya 

Enrollment No : 

Paper No : 7, Literary Criticism and Theory 

Topic :  Rasa Theory 

Email ID :  pinagondaliya09@gmail.com 

Classification of Literary Theories 

It is possible to classify literary theories on the basis of what aspect of literary composition is central to them. Accordingly, we have theory of :

1. Language, namely, alamkara (principle of figurativeness) and Vakrokti (principle of deviation) 
2. Style and compositional value, namely, guna/dosa (excellence, faults). Riti (mode of expression) and Acuity(propriety).
3. Verbal symbolism, namely, dhavni 
4. Aesthetic experience namely, rasa 
5. Narrative, namely, mahakavya, as inferable from Bhoja's Sringara Prakasa and categories of panini's grammar. 
6. Discourse analysis ,namely, yuktis. For example Kautilya's thirty -two units of composition in Arthasastra. It is an analysis of the thought structure of a composition, constitution of a text in terms of nature of proportions. Indian theorists do not explicitly discuss this. But one can consolidate ideas available in different sources. 
7. Comprehensive analysis as constructed in kavyamimamsa. Rajasekhara has proposed a composite model based on the insights of different theories. 

• Major schools, thinkers and text :

School	Thinkers	Texts
Rasa	Bharata  Dhanika-Dhananjaya	Natyasastra Dasarupaka
Alamkara	Bhamaha Dandin  Udbhata  Rudrata	Kavyalankara Kavyadarsa Kavyalamkarasarasamgraha Kavyalankara
Riti	Vamana	Kavyalamkarasutra
Dhavni	Anandavardhana  Abhinavagupta Mahima Bhatta	Dhvanyaloka Abhinavabharati Vyakti Viveka
Vakrokti	Kuntaka	Vakrokti Jivita
Guna-Dosa	Dandin  Bhamaha	Kavyadarsa Kavyalankara
Aucitya	Ksemendra	Aucitya Caracara

Rasa Theory 

Rasa, is an ancient concept of aesthetics discussed in the text, the Natyasastra, which dates to approximately the 4th or 5th century. "Sastra" in Hindu philosophy refers to the first text or treatise written on any subject ; the person generally credited for the Natyasastra is the  legendary Bharata Muni. Many philosophers have contributed ideas to the theories in aesthetics including Dandin, Bhatta Lollata, Sanuka, and Bhatta Nayaka. The ideas of all these philosophers have been passed down through the writing of the philosopher Abhinavagupta. 

The rasa theory originates with Bharata in Natyasastra. It claims that the object or meaning that is sought to be conveyed in literary compositions is in the nature of an emotional effect of diverse human experience on man's mind and heart. It is possible, Bharata demonstrates, to enumerate the whole range of emotions, or states of being born of experience, and to analyse the structure of those emotions in terms of cause, physical correlate and their effect on man's being. The theory thus becomes in effect a theory of literary experience which is strongly rooted in the empirical human reality. 

Bharata, the first announcer of the theory ,gives the most comprehensive analysis of its sources, nature and its Categories. Subsequently, the theory found major commentators in Dhanika Dhananjaya who re-examined Bharata's typology of drama and added to it a typology of Uparupakas, subplays, plays within plays, and one - act plays. It is Abhinavagupta, however, who enriched the theory by elucidating its philosophic foundations and by analysing in depth the aesthetic dimension of the theory in terms of the nature, cognition and effect of literary experience. 

The Rasa theory has been accepted as the core literary theory by all major politicians both before and after Abhinavagupta. In particular, the discussion and analysis by Viswanatha and Pt. Jagannatha have contributed towards a more subtle understanding of this theory. 

Nine Rasa :

Rasa is Sanskrit and has many translations in English, the main ones being : essence, juice, nectar, taste, or sap. Rasa is in everything, or I should say.. everything has Rasa. Though some things have a higher vibrational essence, others lower, some even dead. Rasa is the invisible substance that gives life meaning. Rasa is also described as the state of ecstasy in the union with divine. 

In Tantra these 9 Rasas are the essence of all of our emotions; 

1 Love / Sringara

It is the ultimate Rasa. The king or queen emotion that heals anything. It frees the ego and connects us to devotion. When you appreciate beauty it connects you to the source of love. It is the creative play between Shiva and Shakti, sun and moon, yin and yang. The purpose of the universe is to experience this divine love. 

This love exists in everything. It is within each one of us and radiates out to the cosmos. 

2. Joj/Hasya 

This Rasa connects you to your humor, laughter, happiness and contentment. It is the extension of what you feel within love. 

3. Wonder / Adhuta 

Curiosity, Mystery, Awe. When you become fascinated with the idea of life. It is your playfulness and innocence. You enter into complete appreciation and become an explorer or adventure. It is magic! 

]4. Courage / Vira 

Bravery, Confidence, Pride. When you call upon your the warrior that lives inside you. It is strong and vibrant. 

5. Peace / Shanta 

Deep calmness and relaxation. When you become still and quiet. In peace you become so full that you are empty. You will not find peace anywhere but within. 

6. Sadness / Karuna

When you can experience sadness and connect it back to the cosmos, you then experience compassion. Compassion is what connects us all. Through compassion we can relate deeply to each other. When one's sadness is truly experienced around a situation it can give a sense of completion. Grieving is a key aspect in healing. 

7. Anger/Raudra

In anger we go into the fire. One moment of anger can destroy lifetimes of good merit. Respect anger. When anger isn't honored it can bring up irritation, violence, hatred. Feel the anger. Let it move through you. Breathe into the fire. 

8. Fear/ Bhayanaka

Doubt, Worry, Insecurity. When we live our lives in fear, we shut down completely. 

9. Disgust / Vibhasta

Self pity, Loathing, self hatred. Only through a loving emotion can you heal and appease disgust 

But bhakti rasa is the one which is revered most as all first 6 rasas can be attained through bhakti rasa. How to test the nectar of bhakti rasa the following method has been advocated. Bhakti is a Sanskrit term that signifies an attitude of devotion to a personal God that is similar to a number of human-human relationships such as a beloved - lover, friend-friend, parent-child, and master-servant. Bhakti rasa was added later on. 

Citation 

Hrodrigues. “Rasa Theory .” Mahavidya, 26 Dec. 2017, www.mahavidya.ca/2017/12/26/4110/.

Rocio. “9----Rasas as 9-- Emotions in Human Beings .” Speakingtree.in, Speaking Tree, 25 Mar. 2013, www.speakingtree.in/blog/9rasas-as-9-emotions-in-human-beings.

Assignment paper no : 8. British Cultural Materialism

Assignment 

Name:  Pina Gondaliya 

Enrollment No:2069108420200012

Paper No : 8, Cultural Studies 

Topic:  British Cultural Materialism 

Email ID: pinagondaliya09@gmail.com 

Roll No: 18

What is Cultural Studies? 

Cultural studies is now a movement or a network. It has its own degrees in several colleges and universities and its own journals and meetings. It exercises a large influence on academic disciplines, especially on English studies, sociology, media and communication studies, linguistics and history. As Patrick Brantlinger has pointed out, 

cultural studies is not "a tightly coherent, unified movement with a fixed agenda," but a "loosely coherent group of tendencies, issues, and questions"

Arising from the social turmoil of the 1960s,  cultural studies is composed of elements of Marxism, post-structuralism and postmodernism, feminism, gender studies, anthropology, sociology, race and ethnic studies, film theory, urban studies, public policy, popular culture studies, and postcolonial studies : those fields that concentrate on social and cultural forces that either create community or cause division and alienation. 

• Five Types of Cultural Studies  

1. British Cultural Materialism 
2. New Historicism 
3. American Multiculturalism 

• African American writers 
• Latina/o Writers 
• American Indian literatures 

4. Postmodernism and popular culture 
5. Postcolonial Studies 

• Cultural Materialism 

Cultural materialism as a literary critical practice—this article will not address its anthropological namesake—is a Marxist-inspired and mostly British approach to in particular Shakespeare and early modern English literature that emerged and became prominent in the 1980s. Its emphasis on the historical and material conditions of the production and reception of texts has remained influential, even if its political commitment and interventionist purposes have largely been abandoned and increasingly ignored. While certain of its formulations would seem to echo Michel Foucault, Louis Althusser, or other thinkers of the period, the main influence is the British literary and cultural critic Raymond Williams, and his re-theorization, following Antonio Gramsci’s notion of cultural hegemony, of the orthodox Marxist binary of base and superstructure. For Williams, who coined the term “cultural materialism,” culture is neither a mere reflection of that base nor wholly independent of it. This does not rule out intentional human practice, but rejects the idealist position in seeing that practice as inseparable from specific historical conditions. Still, with culture not wholly determined by an economic base, it plays its own role in the construction and/or reproduction of the social totality, and inevitably becomes the site of ideological struggle. Next to the dominant, hegemonic cultural formation we will thus find declining, residual formations and nascent, emergent ones. Cultural materialism focused on the ideological forces at work in Shakespeare, in Shakespeare studies, and in contemporary re-stagings and representations—in for instance secondary education and advertising—of Shakespeare and/or his work. Rejecting humanist beliefs in transcendent, ahistorical, truth and in an essential human nature, cultural materialists insisted on historicization and argued that Shakespeare—and the study of literature in general—had been hijacked by a conservative humanist ideology that presented itself as timeless and “natural” and perhaps unwittingly colluded with a profoundly unjust and rapacious social order. One of cultural materialism’s main interests was social stratification and the way in which the dominant social order sought to legitimize itself—for instance through the construction of socially marginalized groups as “other,” a practice that led to an early interest in issues of gender and race, and would substantially contribute to the rise of queer studies. Inspired by its belief that ideological hegemony is never absolute and that all ideology at some point contradicts itself, cultural materialism reads texts for signs of subversion and political dissidence, arriving at often provocative interpretations whose ulterior purpose was to serve as interventions in current political debate  

• British Cultural Materialism :

Cultural studies is referred to as "cultural materialism" in Britain, and it has a long tradition. In the later nineteenth century Matthew Arnold sought to redefine the "givens" of British culture. Edward Burnett Taylor's pioneering anthropological study Primitive Culture argued that "Culture or civilization, taken in its widest ethnographic sense, is a complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society".

Claude Levi-Strauss's influence moved British thinkers to assign "culture" to primitive peoples, and then, with the work of British scholars like Raymond Williams, to attribute culture to the working class as well as the elite. As William memorably states: "There are no masses; there are only ways of seeing people as masses".

To appreciate the importance of this revision of "culture" we must situate it within the controlling myth of social political reality of the British Empire upon which the sun never set, and ideology left over from the previous century. In modern Britain two trajectories for "culture" developed: one led back to the past and the feudal hierarchies that ordered community in the past; here, culture acted in its sacred function as preserver of the past. The other trajectory led toward a future, socialist utopia that would annul the distinction between labor and leisure classes and make transformation of status, not fixity, the norm. This cultural materialism furnished a leftist orientation "critical of the aestheticism, formalism, anti historicism, and apoliticism common among the dominant postwar methods of academic literary criticism"; such was the description in the Johns Hopkins Guide to Literary Theory and Criticism. 

Cultural materialism began in earnest in the 1950s with the work of F. R. Leavis, heavily influenced by Matthew Arnold's analysis of bourgeois culture. Leavis sought to use the education system to distribute literary knowledge and appreciation more widely; Leavisites promoted the "great tradition" of Shakespeare and Milton to improve the moral sensibilities of a wider range of readers than just the elite. 

Ironically the threat to their project was mass culture. Raymond William applaudend the richness of canonical texts such as Leavis promoted, but also found they could seem to erase certain communal forms of life. Inspired by Karl Marx, British theorists were also influenced by Gyorgy Lukacs,  Theodor Adorno, Louis Althusser, Max Horkheimer, Mikhail Bakhtin, and Antonio Gramsci. They were especially interested in problems of cultural hegemony and in the many systems of domination related to literature. From Gramsci, an Italian Marxist, for example, they got the concept of cultural "hegemony", referring to relations of domination not always visible as such. Williams noted that hegemony was "a sense of reality for most people beyond which it is very difficult for most members of society to move ". But the people are not always Victims of hegemony; they sometimes possess the power to change it. 

Althusser insisted that ideology was ultimately in control of the people, that "the main function of ideology is to reproduce the Society's existing relations of production, and that function is even carried out in literary texts." Ideology must maintain this state of affairs if the state and capitalism can continue to reproduce themselves without fear of revolution. Althusser saw popular literature as merely "carrying the baggage of a culture's ideology," whereas "high" literature retained more autonomy and hence had more power. Walter Benjamin attacked fascism by questioning the value of what he called the "aura" of culture. Benjamin helps explain the frightening cultural context for a film such as Leni Riefenstahl's Triumph of the Will. Lukacs developed what he called a "Reflection Theory," in which he stressed literature's reflection, conscious or unconscious, of the social reality surroundings it not just a flood of realistic detail but a reflection of the essence of a society. Fiction formed without a sense of such reflection can never fully show the meaning of a given society. 

Cultural materialists also turned to the more humanistic and even spiritual insights of the great student of Rabelais and Dostoevsky, Russian Formalism Bakhtin, especially his amplification of the dialogic form of meaning within narrative and class struggle, at once conflictual and communal materialists in recognizing how seemingly "disinterested" thought is shaped by power structures such as patriarchy. 

Citation :


Bertend, Hans. “Cultural Materialism .” Cultural Materialism - Literary and Critical Theory - Oxford Bibliographies, 26 Feb. 2020, www.oxfordbibliographies.com/view/document/obo-9780190221911/obo-9780190221911-0091.xml.

Johnson, Richard. "What is Cultural Studies Anyway?" Social Text, no. 16, 1986, pp.38-80. JSTOR, www.jstor.org/stable/466285. Accessed 5 Mar. 2020.

Pramod K. Narayan, An Introduction of Cultural Studies . Viva Books Private Limited (April 20, 2011), April 20, 2011.

Assignment paper No 6 : Victorian Novelist

Name  : Gondaliya pina k

Sem : 2

Paper No : Victorian Literature

Topic : Major novelist of Victorian era 

Enrollment No :

Email ID : pinagondaliya09@gmail.com 


Victorian Novelist : Charles Dickens and George Eliot

Victorian period

The Victorian period (1850-1900) is the Modern period of progress and unrest. The Victorian era was a long struggle of the Anglo-Saxon for personal liberty is definitely settled, and democracy became the established order of the day. Victorian age an age of democracy, it is an age of popular education, religious tolerance, growing brotherhood, and of profound social unrest. Victorian age is remarkable rapid progress in all arts, sciences and in mechanical inventions. 

• Literary characteristics of the Victorian era. 

1. An Age of Prose 
2. Moral Purpose 
3. Idealism 

• Novelist of Victorian era 

The Victorian age was known as the richest age of English literature. During the vacation era there was a rise in various writing in terms of prose, fiction, novel and poetry. The Victorian era was the age of English novels. In the Victorian period the novel made wide progress. Novel reading was a chief occupation of Victorian public. A many brilliant novelist showed that it was possible to adapt the novel to almost all purposes of literature whatsoever. It was the ideal form to describe contemporary life and to entertain the middle class. Victorian novels tend to be idealized portraits of difficult lives in which hard work, perseverance, love and luck win out in the end.Charles Dickens wrote about poverty and social issues in his writing. 

Victorian Novelist
Charles Dickens	1812 - 1870
George Eliot	1819 - 1880
Thomas Hardy	1840 -  1928
William Makepeach Thackerav	1811 -  1163

Charles Dickens 

Charles Dickens was one of the best representatives of his age as a novelist. His representation of the essential human conditions is outstanding. His realism, prose Style, characterization and social criticism in his novels are works of social commentary. He was a fierce critic of poverty with social stratification.

Charles Dickens, in full Charles Huffam Dickens, English novelist, generally considered the greatest of the Victorian era. He enjoyed wide popularity, his works appealing to the simple and sophisticated. Charles Dickens,  a poor, obscure, and suffering child, was helping to support a shiftless family by pasting labels on blacking bottles, sleeping under a counter like a homeless cat, and once a week timidly approaching the big prison where his father was confined for debt. In 1836 his Pickwick was published, and his life was changed as if a magician had waved his wand over him. While the two great poets were slowly struggling for recognition, Dickens with plenty of money and too much fame, was the acknowledged literary hero of England, the idol of immense audiences which gathered to applaud him wherever he appeared. 

• Works of Charles Dickens 

Charles Dickens wrote lots of works during the vacation era. He wrote many short stories and novels. 

• Novels of Charles Dickens 

Novels of Charles Dickens

The Pickwick Paper 1836  Oliver Twist  Nicholas Nickleby 1838 The Old curiosity shop 1840  Barnaby Rudge 1841 Martin chuzzlewit 1843 Dombey and son 1846 David Copperfield 1849 Bleak house 1852  Hard Times  1854  Little Dorrit 1855 A tale of two cities  1859  Great expectations  1860  Our mutual friend  1864  The mystery of Edwin Drood 1870

• George

George Eliot is widely known as a Victorian novelist. Eliot was her pet name her full name Mary Anne evans. George Eliot was born Mary Ann Evans in Warwickshire in 1819. Before she died in 1880, she had become one of the most notable women of the century and one of its leading novelists. Eliot's early life in warwickshire was crucial to her life as a writer: her surroundings provided her with material and inspiration for her later work and instilled a sense of the importance of  memory to the individual's development. In 1828, she became a fervent Evangelical, but when Eliot and her father moved to Coventry in 1841, she encountered the free-thinking Bray family, who initiated in Eliot an intellectual inquiry into the tenets of evangelicalism, which led her to disavow her earlier faith. In this new intellectual context, Eliot began her translation of Strauss's Das Leben Jesu. 

Eliot was a prolific essayist, reviewer, poet, and letter writer, but it is for her full -length fiction that she is best known. Her long fiction includes Scenes of Clerical Life, Adam Bed, The Mill on the Floss, Silas Marner, Romola, Felix Holt, Middlemarch, and Daniel Deronda. In her fiction Elio developed the primary tenets of Victorian realism, and she insisted on the fundamental moral importance of the text. 

George Eliot was perhaps unique among the major novelists up to her time in formulating a coherent set of ideas about life and art before she started to write her first novel. Eliot was known as an important figure in the intellectual life of London during the fifties, as the sub editor of the Westminster Review, the most important organ of liberal thought in England at that time. Eliot was also a prolific writer of articles for magazines and a reviewer of belles-lettres for the Westminster for three years, 1855-57. 

• Conclusion :

Critics have long insisted on the radical difference between the works of George Eliot and Dickens, and George Eliot mounted a strong attack on Dickens's writing in order to promote George Eliot's kind of fiction writing, there are important similarities between the two writers that are fundamental to the condition of writing novels in the Victorian era. Both write long multiple fiction; both imagine individual lives as bound up in complex social webs; both achieve their "realism" by the way of extravagant, fairy-tale like manipulation of plot. Despite a critical tradition that tended to oppose them, admiration for one does not exclude admiration for the other. 

Citation :


Levine, George. "The Dickensian George Eliot." Dickens Studies Annual, vol. 50, no. 1,2019,pp. 48-65. JSTOR, www.jstor.org/stable/10.5325/dickstudannu.50.1.0048. Accessed 5 Mar. 2020.


Long. “English Literature by William J. Long.” Project Gutenberg, 1 Jan. 2004, www.gutenberg.org/ebooks/10609.

Marshall, Gail. “George Eliot -Victorian Literature .” George Eliot - Victorian Literature - Oxford Bibliographies, 2 Mar. 2011, www.oxfordbibliographies.com/view/document/obo-9780199799558/obo-9780199799558-0026.xml.

Thank you

Thinking Activity : Technoculture, Speed and Slow Movement

Hello Readers!

This is my academic blog on thinking Activity of Techno culture and Speed and Slow movement. This task given by Dr. Dilip Barad head of English department.

• Introduction 

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 is reflects on the psychological impact of techno-culture where cultural response to new devices are based upon an awareness that they create new risk. Most systems social, political and technological are now self referential : they generate risks and provide solutions ; they talk only within the system and rarely to the outside.

• Main Theorist and Theory 

1. Ulrich Beck   :  The Risk Society 
2. Carl Honore  :  In Praise of slowness
3. Jean Baudrillard : Simulation and Simulacra 
4. Paul Virillio  :  Speed and politics. 

• Simulation and Simulacra 

Simulation and Simulacra is a 1981 philosophical treaties by Jean Baudrillard, in which the author seeks to examine the relationships between reality, symbols, and society, in particular the significations and symbolism of culture and media involved in constructing and understanding of shared existence.

Simulacra are copies that depict things that either had no original, or not longer have and original. Simulation is the imitation of the operation of a real - world process or systems over time.

The Slow Movement 

A movement that started out with food and ended Up touching Millions 

It all began when in 1986, Carlo Petrini founded Slow food to counter fast food and fast life. The idea quickly grew into an international movement,  reflecting an overwhelming desire for a cultural shift towards slowing down life's pace. This sparked off the beginning of a broader Slow Movement, which has now evolved into Slow Travel, Slow Cities,  Slow Companies, Slow parenting. 

Going slow is about doing everything slow it is simply a gentle reminder to all us that   :

1. We need to rushing through life so fast that we looses track of ourselves, our own values and what makes common sense. We need to reunite with inner voice that used to guide us - because without it was tend to make really shitty decisions both as individuals, parent, entrepreneurs and politicians. 

2.  We need to stop applying the same turbo - Speed to everything that we do.  Certain things are not cmeant to be rushed (such as a raising a child or cooking a nice meal)  so we need to back to doing things at the right speed and learn to slow down when life really matters. 

Carl Honore,  author of the international best -selling book,  "In Praise of Slowness"  that has been translated into over 30 languages, has recognized the importance of Slow brilliantly :

" Today we are addicted to speed, to cramming more and more into every minute. Every moment of the feels like a race against the clock,  a dash to a finish line that we never seem to reach.  This roadrunner culture is taking a  toll on everything from our health,  diet and work  to our communities, relationship and diet and work  to our communities,  relationships and the environment."

👉Paul Virillio  :  Speed and politics

Speed and Politics (first published in France in 1977) is the matrix of Virilio's entire work. Building on the works of Morand, Marinetti, and McLuhan, Virilio presents a vision more radically political than that of any of his French contemporaries: speed as the engine of destruction. Speed and Politics presents a topological account of the entire history of humanity, honing in on the technological advances made possible through the militarization of society. Paralleling Heidegger's account of technology, Virilio's vision sees speed—not class or wealth—as the primary force shaping civilization. In this "technical vitalism," multiple projectiles—inert fortresses and bunkers, the "metabolic bodies" of soldiers, transport vessels, and now information and computer technology—are launched in a permanent assault on the world and on human nature. Written at a lightning-fast pace, Virilio's landmark book is a split-second, overwhelming look at how humanity's motivity has shaped the way we function today, and what might come of it.

👉TED-Talk on 'In Praise of Slowness'

A world obsessed with speed, with doing everything faster, with cramming more and more into less and less time. Every moment of the day feels like a race against the clock. To borrow a phrase from Carrie Fisher, which is in his bio there; he'll just toss it out again -- "These days even instant gratification takes too long." (Laughter) And if you think about how we to try to make things better, what do we do? No, we speed them up, don't we? So we used to dial; now we speed dial. We used to read; now we speed read. We used to walk; now we speed walk. And of course, we used to date and now we speed date. And even things that are by their very nature slow -- we try and speed them up too. So he was in New York recently, and he walked past a gym that had an advertisement in the window for a new course, a new evening course. And it was for, you guessed it, speed yoga. So this -- the perfect solution for time-starved professionals who want to, you know, salute the sun, but only want to give over about 20 minutes to it. He mean, these are sort of the extreme examples, and they're amusing and good to laugh at. 

very serious point, and I think that in the headlong dash of daily life, we often lose sight of the damage that this roadrunner form of living does to us. We're so marinated in the culture of speed that we almost fail to notice the toll it takes on every aspect of our lives -- on our health, our diet, our work, our relationships, the environment and our community. And sometimes it takes a wake-up call, doesn't it, to alert us to the fact that we're hurrying through our lives, instead of actually living them; that we're living the fast life, instead of the good life. And I think for many people, that wake-up call takes the form of an illness. You know, a burnout, or eventually the body says, "I can't take it anymore," and throws in the towel. Or maybe a relationship goes up in smoke because we haven't had the time, or the patience, or the tranquility, to be with the other person, to listen to them. 

Citation :

“Slow Movement (Culture).” Wikipedia, Wikimedia Foundation, 25 Feb. 2020, en.m.wikipedia.org/wiki/Slow_movement_(culture).

Thank you.... 

Presentation Paper No. 8 : Postcolonial Studies

Postcolonial studies from pinagondaliya

Presentation Paper No 5 :Character Studie Of Monster

Character Studie of Monster from pinagondaliya

Presentation Paper No 7 : Queer Theory

Queer Theory from pinagondaliya