Wednesday, 29 July 2026
Reflections on a PhD Defence | Climate Positionalities and Malayalam Cultural Mediations ❤️
Thursday, 18 June 2026
Skills Over Scores | The Power of the Portfolio ❤️
Sunday, 24 May 2026
The Joys of Reading & Writing | & Our Priceless Local Treasures! ❤️
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| 24 January 2008 - S -220 Class, MCC |
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| 24th January 2008 - Students congratulating the Little Master Raja Monsingh |
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| Mr. Raja Monsingh, today! |
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| The Foundation - His Brainchild! |
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| Phia's lovely collection of books at home! (2019) |
Saturday, 23 May 2026
The Discipline of Time | Celebrating the New Top Cop of Greater Chennai ❤️
Saturday, 2 May 2026
“I’m Ordering Ten Copies of the book Rightaway, Thambi” ❤️
Thursday, 30 April 2026
Of Minds, Machines, and Mentors: A Memorable PhD Viva Voce at PSGK Today ❤️
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| And the Lovely Sight... |
PS: You may want to read our past blogpost HERE on why we continue to stick to the UK way of spelling this long, in India.
Saturday, 14 March 2026
Visual Literature - Nature as "Text" | Deep Attention, Internal Sensitivity and Topophilia in the MCC Scrub Jungle Today 💚💚💚
Connecting with Nature the Krishnamurti Way!
#todayinMCC
These snaps taken by our students today - Open Forum Day - bespeak to the fact that, they have a fantastic eye for nature photography.
Be it capturing the dynamic, mid-action shot of the Indian palm squirrel scrambling its way along a bare, twisting branch, or getting such crisp details on the Common Pierrot butterfly with striking black spots and patterns, resting delicately on a cluster of green leaves, that takes real patience and skill, or highlighting the rich biodiversity and the unique scrub jungle atmosphere that makes MCC campus so special, they’ve done some amazing nature photography today.
A classic shot of the bell tower during mid-noon today, suspended between two solid yellow pillars, was lovely!
Lovely snapshots of a bright green parakeet navigating the branches, and posing pretty happily for our snaps was indeed a treat to behold! Just adjacent to the parakeet you find the natural tree hollow that these birds often use for nesting.
There’s also this lovely snap of a resilient sapling – a bright green shoot stubbornly growing out of a deep, dark crevice in the rough, reddish-brown bark of the large tree.
That’s exactly where literature steps into the realm of bioregional literary studies.
In fact, Bioregionalism relies heavily on developing and celebrating a “sense of place” aka Topophilia.
MCC is well-known for preserving and nurturing its treasured native scrub jungle. In this regard, these photos act as visual literature, documenting the unique “spirit of the place” of this specific bioregion.
In bioregional literary studies, observing the landscape is treated like reading a text, albeit with deep attention. By zooming in on the Common Pierrot butterfly, or the tiny sapling growing from the bark, or the pink Orchid Tree blossom, the students are practising what ecocritics would call “deep attention” or “slow looking.” And by doing so, they are celebrating the micro-narratives of the ecosystem that usually go unnoticed in the rush and hustle bustle of our daily life.
Yet another theme of bioregional literary studies is the celebration of our interconnectedness. These photos do exactly that. Be it the parakeet in the tree hollow or the squirrel on the branch – they beautifully exemplify the fact that, the campus is a shared habitat, were humans and more-than-humans co-inhabit in an interconnected consciousness.
Especially, the macro shot of the bright green sapling pushing its way out of the dead, cracked bark is a profound visual metaphor for resilience and regeneration. I’m reminded of Gerard Manley Hopkins’ famous quote here –
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
Coming back to the lovely Krishnamurti connect,
J Krishnamurti believed that a deep, quiet awareness of the rustle of leaves, the quality of light, or the movement of a squirrel builds up a lovely “internal sensitivity”. Moreover, truth isn’t found in books or rituals, but in the direct observation of life. Nature, then, to him, was the primary classroom for empathy.
Hence, a student who is sensitive to the struggle of a tiny sapling growing out of a rough bark is cultivating the same empathy and sensitivity required to understand human suffering and joy.
Finally, JK emphasised on the fact that the observer is not separate from the observed; Hence, to ignore the scrub jungle around us is to ignore a part of ourselves!
How true!
PS:
All Photos Copyright © Ms. Rakshaya, Ms. Aarthi, Ms. Rangineetha and Ms.
Vishnupriya
Thursday, 5 February 2026
Unboxing Berger’s "Ways of Seeing" ❤️
So who came first? Mulvey or Berger?
Ways of Seeing | John Berger
When the Cover is… Chapter 1 !!!
A Cornerstone Book for Cultural Studies
It’s a fact, universally acknowledged, that a literary being in possession of a good collection of books, must be super-excited to gift it to a kindred spirit! 😊
And so it was, that, when Dr. Ganesh, my kindred spirit called me up this morning, (I was then in the Council Room along with our Principal, Deans and a host of other officials, facilitating the signing of two MoUs – one with USA and one with South Korea - an eventful MoU Signing it really was, today, since for the first time, in a long time, we had two MoUs with two International Universities happening on a single day - and more on that in a special post),
I impulsively rushed down to meet him, and after exchanging that memorable hug, - there he was, as ever, gifting me a lovely book – a lovelyyy gesture that I cherish a lot!
It’s titled, Ways of Seeing by John Berger.
Interestingly, just this morning, we were discussing “Ways of Seeing” and the “Politics of the Gaze” in my II MA English class and the III BA English class as well.
We are all of the opinion that it was Laura Mulvey who first popularised the term, ‘male gaze’. However, we are slightly mistaken here. It was indeed Berger who deserves the ‘pioneering’ credits. 😊
Berger identified the social behaviour of looking at women as objects in art history, in 1972. Later, in the year 1975, Mulvey gave that behaviour its academic name and analysed it within the context of film.
It was Berger who famously pointed out the difference between being “naked” and being “nude” –
“To be naked is to be oneself. To be nude is to be seen naked by others… A nude has to be seen as an object in order to become a nude,” he observes.
He demonstrates how Western oil painting has historically positioned women as objects to be looked at by a male spectator! By this - his rock-the-boat remarks, he brought art criticism down to earth-level, insisting that art is a reflection of power, property, and class!
Again, just this afternoon, over lunch, when I saw a vibrant I MA student reading Orwell’s 1984, I asked him what he particularly liked about the book. He came up with some amazing responses. I was so happy to listen to his observations on the book. More so, just because of the fact that he carried a book with him, all the time, and spoke with such excitement about the book.
Felt so happy, and so I also exhorted him to read the ‘paratexts’ of the book – which refers to everything in a book that isn’t the main body of the text – it could be the cover, the font, the layout, and even the “blurb,” which conveys and transmits ‘significations’ in equal measure.
In that sense, in Berger’s Ways of Seeing the Paratext is revolutionary by all means!
That’s because it was designed in such a way to deconstruct or to ‘destruct’ the traditional authority of ‘the book’. 😊
Starting from the cover, you’ll be surprised to find that, the text of the first chapter actually begins on the front cover itself. OMG! 😊
Added, the book uses a heavy, sans-serif font, which feels quite thick or dense – in a way which we haven’t seen or read before! In short, the typesetting isn’t quite elegant on the eyes at least in this book!
Curiously enough, even the images do not find a separate section at the centre of the book. Rather, they seem to be forcibly dropped into the flow of the sentences, often interrupting our readability, and thereby forcing us to ‘look’ while we ‘read’.
In essence, Berger seems to say that, looking also is a form of reading. Or, a book doesn’t communicate to us through the verbal argument, alone! Everything in the ‘text’ then becomes a ‘text!’ 😊
Now, let’s just look at the front cover of the book –
The statement “Seeing comes before words” is both the first sentence of the book and perhaps his life motto as well! (Reminds us of J. Krishnamurti here] 😊
In fact, Berger has used Rene Magritte’s painting for the cover which heightens the poetics and the radicality of the paratext!
Magritte shows a horse labelled “the door,’" a clock labelled “the wind,” a pitcher labelled “the bird,” and a suitcase labelled “the valise”.
Berger uses these images to immediately destabilise our trust in language. It forces us to realise that the labels we put on things (words) are often arbitrary and can actually distract us from the reality of what we are seeing.
If we carefully look at the sentence right above the painting –
“The relation between what we see and what we know is never settled.”
This is indeed the “wow” moment of the cover, you see! Berger is so subtly telling us that even though the reader knows that it is a horse, the word “door” creates a friction. This friction is where critical thinking happens, and it’s exactly what he wants the ‘critical reader’ to apply to every painting and advertisement in the chapters to come. 😊
And lastly, if you observantly look at the very bottom of the cover, the sentence is cut off – “The way we see things is affected by what we...”
A real cliffhanger of a sentence. What does this mean?
Well, let’s continue our discussions on this aspect, tomorrow 😊
You may want to read more on Dr. Ganesh HERE on our past blogpost!
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