Showing posts with label III BA English. Show all posts
Showing posts with label III BA English. Show all posts

Wednesday, 15 April 2026

The Art of Writing the Diary: A Heartwarming Masterclass in Discipline from a Graduating Student! ❤️

On His Last Working Day Today

A Lovely Student’s Heartwarming Gesture!


He is one of our best students! He has never missed a class! He’s been very studious! Involves in class discussions and interactions all the time!

Today was his last day as student of the III BA English Class in MCC.

So yesterday he got an appointment to meet with me. I gave him an appointment for 9.15 am this morning, and he was there on time.

When his turn came, he gently sat at the desk, opened his bag, and placed three beautiful diaries that he had written so meticulously and consistently for the past three years, and then he gently said –

Sir, I wish to thank you for cultivating in me the art of maintaining a diary. The very first class you met us, I remember you exhorting us to write our diary every day. I took a resolve to that end, and today, it has become an indispensable part of my life. MCC has given me beautiful memories, a lovely education, and one great skill that I would cherish for life – that would be the art of writing a diary. These days, it has become such a compulsive habit, that if I don’t write my diary for even one day, I feel quite restless, until I write it down!

So saying, he took out the traditional shawl and draped it over my shoulders.

Indeed, this lovely little gesture really made my day today! I personally feel that, this is the true purpose of education – acquiring / learning skills far beyond the syllabus!

He is none other than Mr. Khamlianthang - one of our best students ever, ladies and gentlemen!

Be it taking notes in class, or coming to class regularly, up until the last class of the semester, or participating in interactions / debates in class, or bringing the text to class, he was always known for his punctuality and disciplined manners.


Indeed, today I felt so happy when he showed me his diaries. Apart from our degree-based education, that our students today are so obsessed about, it is quite rare to see students venturing into honing their skills!


Maintaining a diary is indeed a rigorous exercise in self-reliance and emotional intelligence. Moreover, the discipline of putting pen to paper requires a student to pause, process, and articulate their thoughts in such a coherent and graded manner.

Diary writing also helps a great deal in cultivating consistency - a trait that Mr. Khamlianthang clearly exhibited through his flawless attendance and classroom engagement.

Mr. Khamlianthang leaves MCC not just with a BA in English, but with the skills of a scholar, a writer, and a disciplined professional.

I am sure that, it is these skills, that he has cultivated quietly and consistently over the past three years, that will truly define his trajectory in life.

We are so proud of you, dear Khamlianthang! And we wish you the very best in life!

Wednesday, 21 January 2026

"You have brought a piece of that paradise with you to Class" ❤️

‘Clerks of Oxenford’ from the III BA English Lit Class

A Note of Appreciation

I am so happy and proud to acknowledge and to appreciate a bevy of lovely ‘Clerks of Oxenford’ from the III BA English Literature Class.

Like Chaucer’s scholar, you’ve prioritised the ‘twenty books’ of learning over the distractions of the world.

Also, by carrying this book (Beginning Theory by Peter Barry), you are signalling a similar devotion and commitment much akin to the Clerk of Oxenford. Your physical books are ‘signs’ to use a Barthesian term - of your commitment to the ‘Writerly’ life.

Jorge Luis Borges famously imagined that Paradise would be a kind of library. 😊 By bringing the text book to class, you have brought a piece of that paradise with you.

Kudos dear students. We are so proud of you.

The Hall of Fame

1. Alena Sara Thomas

2. Andrea Bettina A

3. Angel Mariam Thomas

5. Ann Maria Thomas

7. Anupriya P

8. Anusuya, P

9. Catherine Jasper, S

10. Charu Lakshmi, S

14. Eshal Abdul Azeez

16. Glaudia Jaffrine M

18. Gracelin Patricia, J

20. J S Jerolin Girubha

24. Jessy George

37. Megha Sumesh

38. Melling Toniya R N

42. Pearlina Gracelyn P

50. Swathi S

51. Swetha, M

53. Veena, J

62. Khamlianthang

(Roll No & Name in the Order of Attendance)


Wednesday, 15 October 2025

"When the glass is fogged up, we look at the glass. The glass is all we see" ❤️

Congratulations to the Sweet Seven

III BA English | Clear & Legible Handwriting

15th October 2025

Today I was distributing the answer scripts to the students of the III BA English class.

While giving them their answer sheets, I also gave them an open challenge - If there is any among you who has written in a neat and legible manner, without smudging or over-writing, you may show me your papers and claim your bonus marks.

On that vein, I also wish to appreciate the Hall of Fame from the class for their neat and legible handwriting –

Yamini

Kiruthika

Andrea Bettina

Angel Mariam Thomas

Veena

Gauri

Haokip

I also wish to share my thoughts on the subject.

A clear and legible handwriting is a fundamental element of effective communication, and hence it has a significant impact on academic performance, and influences how the student is perceived by others.

A messy handwriting can hence create a barrier in communication.

Your handwriting can be seen as a reflection of your personality as well!

In professional settings especially, a clear and legible handwriting conveys professionalism, respect, and care for the person reading it. Sloppy writing can be interpreted as carelessness or a lack of discipline.

Moreover, it can leave a lasting positive impression, suggesting that the writer is organized and meticulous, and hence can be trusted with great responsibilities.

In her lovely book titled, Better Answers: Written Performance That Looks Good and Sounds Smart, Ardith Davis Cole highlights the importance of a clear and legible handwriting.

Says she –

A responder’s spelling, grammar, handwriting, spacing, punctuation, and such will influence most people who read his or her response.

Why handwriting first?

Both handwriting and conventions concern the cosmetics and mechanics of the piece.

When the glass is fogged up, we look at the glass. The glass is all we see. As soon as it gets unfogged we ignore it and see through it to the scene outside. This is a good metaphor to share with kids, because they need to know why it is important to write neatly, and why they must place a priority on bringing the conventions to an optimal level.

First Impressions Count: To me, it seems logical to begin with the issue of readability as it relates to handwriting and neatness. “Why do I believe handwriting and neatness are so important?” you might ask.

My response: “Because if your handwriting is a mess or your paper is smudged, the reader is inclined to feel that the content is probably a mess too,”

says Cole.

Wednesday, 10 September 2025

"The modern Western world, especially the United States, was founded on a cataclysmic system driven by slavery, white supremacy, and capitalism" 💜

The “Glorious Revolution” of 1688: Not So Glorious for Africans and the Indigenous

A Critical Analysis 


Introduction: This essay titled, “The “Glorious Revolution” of 1688: Not So Glorious for Africans and the Indigenous”, is taken from the book titled, Apocalypse of Settler Colonialism by eminent historian and scholar Gerald Horne. 

Horne argues that the rise of the modern Western world was not a story of progress and liberty but a global catastrophe built on the “three horsemen of the apocalypse” - slavery, white supremacy, and capitalism. The book focuses on the 17th century, a pivotal period during which England emerged as a dominant global power.

The Intertwined Origins of Western Dominance: Horne’s central thesis is that these three forces were not separate but were fundamentally connected and co-dependent from the very beginning. 

He shows how the expansion of capitalism through global trade and colonialism required a massive labor (sic) force, which was obtained through the brutal enslavement of Africans and the genocidal displacement and extermination of Indigenous peoples.

The Creation of “Whiteness”: A crucial part of Horne’s argument is that the concept of “whiteness” was not a pre-existing identity but was a social and political construct created during this period. Laws were passed to prevent interracial relationships and limit the rights of free Black people, solidifying a racial caste system. 

This shift from a society based on religious or national identity to one based on ‘race’ helped secure land for settlers and provide a labour force for the colonies. This cross-class alliance was a strategic tool to prevent them from siding with enslaved Africans and Indigenous peoples in uprisings, thereby securing the colonial project and its immense profits.

A “Counter-Revolution” that Secured Property Rights of the Merchant Class: Horne reframes pivotal events, like the English Civil War and the Glorious Revolution, not as steps toward modern democracy, but as a “counter-revolution” that secured the property rights of a rising merchant class. 

These merchants then used their newfound power to intensify the slave trade and the dispossession of land from Native Americans. The book challenges the traditional, celebratory narrative of Western history, arguing that it was a horrific “apocalypse” for the peoples whose lands were stolen and whose lives were commodified.

The Glorious Revolution and the Slave Trade: The Glorious Revolution of 1688, which deposed King James II and brought William III and Mary II to the throne, weakened the monarchy’s control over the Royal African Company. 

This was a campaign by the English merchant class to gain complete control of the transatlantic slave trade from the monarchy, which was only made possible by the brutal exploitation of enslaved Africans and the violent dispossession of Indigenous peoples. 

This deregulation led to a massive acceleration of the African slave trade, enriching private merchants and planters while simultaneously devastating Africa through impoverishment.

Expansion of Slavery and Colonial Instability: As the number of enslaved Africans increased, so did their resistance and the violence used against them. 

The author highlights examples from Barbados and Jamaica, where slave revolts and arson were common. Colonial authorities responded with increasingly harsh laws, brutal executions, and a deliberate strategy to create a racial hierarchy by bribing poor Europeans to monitor enslaved Africans.

Connection to American Secession: The author argues that the economic and social changes initiated by the Glorious Revolution laid the groundwork for the American Revolution in 1776. 

The merchants and planters who gained power in 1688 continued to challenge the authority of London, culminating in their revolt against Parliament, which was now the new center (sic) of power. The essay even describes the 1776 revolution as a ‘Royalist Revolution’ dominated by figures from Virginia, a state that embodied a mix of ‘feudalism, capitalism - and slavery’.

The Glorious Revolution – Its Role in Expanding the Institution of Slavery: The essay presents a provocative and critical reinterpretation of the Glorious Revolution, shifting the focus from its traditional narrative of democratic progress to its role in expanding and entrenching the institution of slavery. 

Gerald Horne asserts that the “modern” Western world, especially the United States, was founded on a cataclysmic system driven by slavery, white supremacy, and capitalism.

Conclusion: The book’s conclusion serves as a powerful call to action, suggesting that understanding these historical roots is essential for confronting the lingering issues of white supremacy and racial inequality today. 

Horne emphasizes that for true justice to be achieved, the people who were unmade by this system must be “compensated and made whole (somehow).”

Wednesday, 21 April 2021

Introduction to Lyotard's 'The Postmodern Condition'

The Postmodern Condition: A Report on Knowledge [Introduction]

by Jean Francois Lyotard

[Critical Summary of the ‘Introduction’]

Introduction

Sir Arnold Toynbee was one of the first scholars to use the term ‘postmodernism’. In his famous study of twenty-six world civilisations, in the course of human history, ranging from Ancient Rome to imperial China, from Babylon to the Aztecs, Toynbee concluded that any civilisation flourished and prospered by responding successfully to challenges under the leadership of elite leaders. At the same time, civilizations declined when their leaders stopped responding creatively, or in other words, they were unable to find creative solutions, says Toynbee. Such societies in disintegration suffer from a kind of ‘schism of the soul’, he observes.


In like fashion, in his Postmodern Condition: A Report on Knowledge, Lyotard undertakes a major study of the notion of knowledge in postmodern society. Lyotard then concludes his study by putting forth the proposition that, the postmodern era is one that is characterised by a loss of faith in all grand, totalizing “metanarratives”, resulting in the end of all such ‘grand narratives’ or totalising narratives!

Condition of Knowledge in Highly Developed Societies

The object of this study is the condition of knowledge in the most highly developed societies, says Lyotard. The status of knowledge is radically altered even as societies enter the postindustrial age, and cultures enter the postmodern age, and these technological transformations can be expected to have a considerable impact on knowledge, he observes.

Incredulity towards Metanarratives

Lyotard then proceeds to define postmodern as incredulity toward metanarratives.

In the past, when one framework for knowledge was thought to be inadequate, it was replaced by another framework. The goal of postmodernism, hence, is to do without frameworks for knowledge altogether. In postmodernist terminology, ‘metanarratives’ are stories about stories, ‘large scale theoretical interpretations purportedly of universal application, or universal worldview.

However, postmodernism is a worldview that denies all worldviews.

Metanarratives were hence seen as ‘totalising discourses’, which are associated with oppression. In the words of the neo-Marxist Terry Eagleton, ‘Postmodernism signals the death of such metanarratives whose secretly terroristic function was to ground and legitimate the illusion of a ‘universal’ human history.

The belief in a universal humanity, usually thought of as an ennobling vision of human equality and dignity, is described in conspiratorial language as ‘secretly terroristic’.

Postmodernism As Anti-foundationalism

Postmodernism dismisses foundationalism, which is defined as ‘the idea that knowledge is the reflection of truth and that we can discover a stable foundation for it in God, History or Reason’.

Hence Postmodernism is also called anti-foundationalist.

The grand intellectual systems of the past (such as Platonism, Christianity, Marxism, science etc.) have always had specific foundations (rational ideals; God; economics; empirical observation), etc. However, Postmodernism seeks to destroy all such objective foundations and seeks to replace them with nothing.

Patricia Waugh defines this anti-foundationalist stance of Postmodernism thus –

Central to the ‘postmodern condition’, therefore is a recognition and account of the way in which the ‘grand narratives’ of Western history and, in particular, enlightened modernity, have broken down.

Postmodernists Dissolve History

Postmodernists also seek to dissolve history. They no longer see it as a record of objective facts, but as ‘a series of metaphors which cannot be detached from the institutionally produced languages which we bring to bear on it’.

And since there is no objective truth, history may be rewritten according to the needs of a particular group. Patricia Waugh hence says that, ‘We can make no distinction between ‘truth’ and ‘fiction’.

Postmodern Knowledge: NOT a Tool of the Authorities

According to Lyotard, in the postmodern era of delegitimation of metanarratives, local determinism or mininarratives are celebrated, and hence knowledge is not a tool of the authorities.

In this mode, knowledge is no longer seen as an absolute truth; rather, knowledge is seen as rearranging information into new paradigms. Human beings construct their respective models from their own perspectives, to account for their own experiences. These models are ‘texts’ that are constantly being revised. Hence any claim to grand narratives have no validity.

Postmodern scholars therefore seek to dismantle those paradigms of the past, and bring the marginal into the centre, rewriting history in favour of those who have been excluded from power – women, homosexuals, blacks, Native Americans, and other victims of oppression. Hence to most people, this dismantling or the death of the grand narratives, is not only inclusive, but also quite liberating. When we construct our own realities, there are no limits to our freedom, they observe.

And since invention is always born of dissension, Postmodern knowledge is not simply a tool of the authorities. it refines our sensitivity to differences and reinforces our ability to tolerate the incommensurable.

Its principle is not the expert’s homology, but the inventor's paralogy, observes Lyotard.

Conclusion

Lyotard ends his introduction by stating that, this book is a ‘Report on knowledge in the most highly developed societies and was presented to the government of Quebec at the request of its president’.

He concludes by observing that, the author of the report is a philosopher, not an expert. The expert knows what he knows and what he does not know: the philosopher does not.

“The expert concludes, the philosopher questions” - two very different language games, says Lyotard, which again seeks to beautifully foreground one of the essential postulates of postmodern thought.

Texts Referenced

Guide to Contemporary Culture by Gene Edward Veith

Postmodernism: A Reader by Patricia Waugh

image courtesy: claremontindependentdotcom

Friday, 4 February 2011

Class Photo Invite - Reg

Dear Students of III BA English and II MA English,
Kindly join us for a class-photo session on Friday, 04 February at 9.25 am in the Selaiyur Hall premises.
Regards,
Rufus

Sunday, 5 April 2009

III BA English - Assignment Marks - New Writing..:

The following are the Assignment marks for students who come under my purview:
1. Jayanthi - 78
2. Christina Susan - 76
3. Srikanth Reddy - 70
4. Judah - 74
5. Rakesh - 62
6. Gladwin - 76
7. Smitha - 78
8. Blaisen - 76
Clarifications, if any, can be made to me directly, or via email, on or before 09 April 2009.
Regards,
Rufus

III BA English - II CIA Marks - New Writing..:

Dear Students of III BA English,
The following are the marks for your II CIA held on 31 March 2009.
1. Shyam Gopal - 73
2. Vanlal - 75
3. Satchin - 45
4. Bestin - 75
5. Smitha - 75
6. Sidharth - 75
7. Cleeta - 75
8. Adithya - 72
9. Asheam - 70
10. Addlin - 75
11. Karan - 73
12. Richard - 63
13. Stella - 72
14. Kamatchi - 60
15. Pradeep Kumar - 70
16. Jennita - 72
17. Irene - 73
18. Kalaiarasan - 72
19. Daniel Jesudoss - 73
20. Mercy - 73
21. Swaroop - 70
22. Sam Benjamin - 40
23. Sayujya - 70
24. Noeline - 72
25. Sujatha, M - 72
26. Rinila - 73
Clarifications, if any, can be made to me directly, or via email on or before 09 April 2009.
Regards and all best wishes,
Rufus

Saturday, 10 January 2009

III BA English - Assignment..:

Dear Students of III BA English, (for all of you who come under my purview)
Choose any theme(s) that interest you, with regard to the Novel of Study, "Things Fall Apart" and give a critique of the same in about ten pages.
Regards and all best wishes,
Rufus

Monday, 11 August 2008

Assignment topics for III BA English Litt., Students...:

Topics for assignments for the following students who come under my purview:
Points to Note before you Ink: The essays should be about 12 to 15 pages in length, handwritten, proofed, and well thought-out, adhering to the MLA Style. Bibliography should be used, wherever applicable. I see these assignments as a chance for you to explore more thoroughly some of the topics we have discussed / we will be discussing in class. Also, when you write the essays, be sure to use examples from the text of the play/novel, which have some very usable quotes: use them to your advantage.
Creativity, Neatness and Originality will be rewarded suitably. I would also like to add that I really enjoy reading your essays, and remember, you should be able to make a presentation in class, in about five minutes based on your assignment.

Your marks will be based on the above parameters. All the best..!!!
Cleeta, S.J – “The reason and inspiration for my writing are those people who are exploited and used, and yet do not accept defeat,” opines Mahashweta Devi. Justify this statement of hers, with reference to her life and writings.

Jayanthi, L – Select any Indian woman writer of your choice and comment on her achievement as a writer.

Kamatchi, M – Quest for Identity in Modern Women Writers with specific reference to any one Indian Woman Writer in English of your choice.

Mercy Mary, D – Gender Consciousness in the works of any one Indian Woman Writer of your choice.

Sayujya Sankar – Realism in the works of Kamala Das.

Smitha Susan – A Study of Men in Arundhati Roy’s The God of Small Things.

Aadithyan Mohan – Do you think Indian Women Writers are highly subjective in their outlook? Argue for or against the motion citing one Indian Woman Writer.

Ashish Ityerah – Quest for Identity as a theme in Indian Women’s Writing with reference to any one Indian Woman Writer of your choice.

Daniel Jesudoss, J – Choose any one Indian Woman Writer of your choice, and say why you like or dislike her writing, with references from her works.

Juda Eleazar, J – Choose any one Indian Woman Writer and comment on her achievement as a writer.

Pradeep Kumar, E – Do you think Indian Women Writers are highly emotional in their writing? Argue for or against the motion, citing any one Indian Woman Writer of your choice.

Satchin Joseph – Choose any one Indian Woman Writer of your choice, and say why you like or dislike her writing, with references from her works.

Sushant Anugrah – Is Feminism still relevant in today’s society? Pick out any Feminist Woman writer of your choice, and say why she is relevant or outdated in today’s societal set up. Substantiate your arguments with relevant examples from texts.

Yerram Sreekanth – Man through a Woman’s Eyes - Choose any one Indian Woman Writer of your choice, and exemplify how Men are portrayed in her writings.

Thursday, 17 January 2008

Assignment Topics - III BA English

Topics for assignments for the following students who come under my purview:

Points to Note before you Ink: The essays should be about 12 to 15 pages in length, handwritten, proofed, and well thought-out, adhering to the MLA Style. Bibliography should be used, wherever applicable. I see these assignments as a chance for you to explore more thoroughly some of the topics we have discussed / we will be discussing in class. Also, when you write the essays, be sure to use examples from the text of the play/novel, which have some very usable quotes: use them to your advantage. All assignments should be submitted to Ms.Rani at the IQAC, before 1.30 pm on 29.02.2008. No further extension is permissible under any circumstances.

Creativity, Neatness and Originality will be rewarded suitably. I would also like to add that I really enjoy reading your essays, and remember, you should be able to make a presentation in class, in about five minutes based on your assignment.
And please don't feel bad if you dont get your marks, as marks from now on, will be strictly based on the above parameters. All the best..!!!

Angelin: How and why did things fall apart? Identify what you interpret to be major themes of Things Fall Apart.

Chaithanya: Write a play in about two or three acts on Chapter One, Two and Three of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Jemima: Write a play in about two or three acts on Chapter Four, Five and Six of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Mispa: Write a note on Women in Things Fall Apart, and comment on their role in their immediate family and societal set up.

Rita: Write a play in about two or three acts on Chapters Seven, Eight and Nine of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Alexander: Write a play in about two or three acts on Chapters Ten, Eleven and Twelve of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Ashish: Achebe has integrated traditional Igbo/African elements in his novel. Elaborate on a few of them, and explain their importance.

Jason Roy: Write a play in about two or three acts on Chapters Thirteen, Fourteen and Fifteen of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Kunga Ngodup: Write a play in about two or three acts on Chapters Sixteen, Seventeen and Eighteen of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Pothen Cherian: Write a play in about two or three acts on Chapters Nineteen, Twenty and Twenty one of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Sidharth Kumar: Write a play in about two or three acts on Chapters Twenty two, Twenty three and Twenty four and Twenty five of Chinua Achebe’s Things Fall Apart. You can use the various parameters involved in the staging of a play for theatrical effects.

Monday, 12 November 2007

Papers handled by me this semester for II BA & III BA English Litt;

Dear Students of II BA English Lit & III BA English Lit.,
The following is the syllabus that I will be handling this semester for your classes. It is albeit imperative that you get a copy of the Texts as early as possible. If possible, you can also read these texts at home for yourselves before class starts, to facilitate better interaction.
Regards and all best wishes,
Rufus
II BA English:
Modern Period - Fiction:
E.M.Forster : A Passage to India, Graham Greene : The Power and the Glory;

Prosody and Rhetoric:
1) Definition: Elements of Rhetoric-Style-Figures of Speech- Composition
2) Style: Definition-Qualities-Diction-Characteristics of Poetic Diction-Characteristics of Prose Diction- Diction as determined by Object and Occasion
3) Figures of Speech: Definition-Classification
a) Figures that promote clearness: Synecdoche and Metonymy-Simile-Metaphor-Personification-AllegoryFigures that promote Emphasis: Exclamation-Interrogation-Apostrophe-Hperbole-Irony-Antithesis-Epigram-Climax

III BA English:
New Writing - Fiction:
Chinua Achebe's Things Fall Apart; Shyam Selvadurai's Funny Boy;

Wednesday, 17 October 2007

Results of III CIA - III BA English [Women's Writing (Indian)]

Dear Students of III BA English, Please click HERE for your III CIA Marks for Women's Writing (Indian).
Regards, Rufus

Sunday, 30 September 2007

Portions for III CIA

I BSc Pbt/Zoo: Students who've not attempted the Speech, are asked to write their III CIAs. Questions will be from the entire text book.

II BA Tam/Phil: Questions will be from the entire text book.

I BA English: Dr.SSJ & myself are sharing the III CIA between us, and questions will be based on whatever that has been discussed in Grammar in class thus far.

II BA English: Prof.RS and myself will be sharing the III CIA between us, and questions will be based on 'The Old Man and the Sea' & 'Ransom of the Red Chief.'
Students who have spoken out in class need not necessarily sit for your III CIAs.

III BA English: Mahasweta Devi's Mother of 1084 - an artistic cum critical perspective.

Friday, 23 March 2007

Results of the III CA marks for III BA English students -

R.No Name Max.100
1. AMANDEEP AHLUWALIA 73
2. BEAULAH HELEN, V
3. CHRISTINA DHANASEKARAN 78
4. ESTHER, D 78
5. JUDITH SUGIRTHA, J.C 78
6. LILLY PUSHPAM, D 64
7. MARGRET DEVAPRIYA KNUDSON -
8. NADHIYA KAVERI, K -
9. PRIYA, G 70
10. PRIYANKA MARWAH -
11. PUVIYA RANI KRITHIKA, K 74
12. RANJITHA, R 71
13. REVATHI, K 69
14. SHALINI CHARLES -
15. SHEEBARANI, R 64
16. SUBHASHINI, G.V 78
17. SUMITRA RAGHAVAN 78
18. SUNEETA THOMAS 78
19. TINKU ANNA THOMAS 74
20. VAISHNAVI, D -
21. Anand Kirubakaran, H -
22. Arghya Mandal 75
23. Bijoy Rudra Thomas 74
24. Edwin Selvan, S 68
25. Israel, B 67
26. James Hardy 60
27. Jaswanth Aleph Kukatlapalli -
28. Karthick, A.R 66
29. Luthanhope, G 66
30. Melbin Alexander Thomas -
31. Michael Lalremtluanga 67
32. Raghul, B 70
33. Sai Muthanna, K 73
34. Sajeev V. Koshy 76
35. Samuel Manoharan Jabez, M 74
36. Sandeep Samuel Medikonda 74
37. Santhosh, V 67
38. Shannon Victor Peter 78
39. Tanvir Ahmed 74
40. Vikram Veeraraghavan, V. M 78
41. Vinodkumar, G 78

Clarifications, corrections, if any, can be brought to my notice before 29 March 2007. Regards, Rufus

Thursday, 22 March 2007

III BA English Assignment Marks - (SR)

1. AMANDEEP AHLUWALIA 67
2. JUDITH SUGIRTHA, J.C 75
3. PRIYA, G 73
4. REVATHI, K 66
5. SUMITRA RAGHAVAN 75
6. Anand Kirubakaran, H 65
7. Israel, B 64
8. Melbin Alexander Thomas 69
9. Sajeev V. Koshy 75
10. Shannon Victor Peter 70

Monday, 5 March 2007

III BA English Students,

A detailed compendium on Shyam Selvadurai's Funny Boy has been made out from all possible sources, and it has been made available to you two weeks back. However, if by any reason, you have not got your notes, please contact Judith or Melbin of your class, or else directly access me.
Regards, Rufus

Tuesday, 27 February 2007

For the kind attention of III BA English Litt Students,

An exhaustive compendium of resources abridged to twenty pages, has been given to Judith and Melbin of your class, for distribution and photostat purposes. You are expected to read through the materials provided, and come out with your own observations [CRITICAL & LATERAL] for further deliberations in class. The final phase of critical material will be given shortly.
Regards,
Rufus

Tuesday, 21 November 2006

Why is culture with a Capital 'C' for the Africans alone...? (III B.A English...)

The Africans are supposedly the only people who use the word Culture with an upper case "C"... Why is it so? Is it just for the heck of it, or is there a method in their 'madness'.?
Try to relate your thoughts with Chinua Achebe's Things Fall Apart.

Tuesday, 29 June 2004

III BA English - Introduction to R.K.Narayan's THE GUIDE

II Hr
The Guide -

Ideal vs Real in 'The Guide': Looking at the various points of entry within the novel, as they tell us quite a lot about the whole novel they come from. Insight into People/Places/Moods.

Synopsis: The novel begins with Raju sitting beside the temple and meeting the villager named Velan, who mistakes him for a holy man. The novel then alternates between an account of Raju’s career as a holy man, which is told in the third-person, and Raju’s account to Velan of his previous career as a tour guide and lover, which is told in the first-person. This dualism reflects the dualism in Raju’s character. He is transformed from a sinner to a saint, though he is never truly a sinner, and never truly a saint. Because of his capacity for empathy, Raju is a sympathetic character throughout the novel. http://www.angelfire.com/md2/timewarp/theguide.html

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Reflections on a PhD Defence | Climate Positionalities and Malayalam Cultural Mediations ❤️

Localising the Climate Crisis Through Kerala’s Flood Imaginaries #PhD-Defence #IITM 29th July 2026 | 4 pm Today, I was happy to be a par...