To The Lighthouse(Review/Blogtask)

1. We can say that Virginia Woolf has thrown some lights on the serious topic like human relations. The subconscious mind and its process as well as how it plays the vital role in relations presented here through stream of consciousness technique.  Lily Briscoe is the painter who is living with Mrs. Ramsay and family. Mrs. Ramsay is the lady devoted to the family. Character contrast and comparison questions the values of society. Stream of consciousness is the technique which is allowing us to peep into one’s mind. The time and action are freeze for a while and what is that while in the mind of someone that is shown by using the technique. Woolf can give enough justice to the character of Lily Briscoe as she herself is the writer when no female writers were writing. Her struggle is reflected through the Lily’s character.
2. Yes of course this novel has proved tribute to many women and also Woolf’s mother who in those times devote herself to nurture the family with values and warmth. Mrs. Ramsay is the character who proved right the Indian Sanskrit shloka ‘Karyeshu dasi, Karaneshu manthri;
Bhojeshu mata, Shayaneshu rambha;
Kshamayeshu dharithri, Roopeshu lakshmi;
Satkarma yukta, Kuladharma pathni’  The painting by Lily Briscoe has also portrayed Mrs. Ramsay as the pillar of the family as she stands by the window. Window is the symbol of the fresh feelings; as window keeps ventilating the room so Mrs. Ramsay keeps the family lively and warm.
3. The Light house is the symbol used for Mrs Ramsay. She is standing straight in the storms of emotions and minor clashes among family members as light house is standing and guiding force for the voyager. Lily sometimes carries the feelings of writer. Woolf had overcome her own struggle with society as well as her inner self, which brought stoicism. When Lily paints, she remembers Mrs Ramsay.
4. Here Woolf has used Oedipus myth and myth of Rhea and other Goddesses. The light house is relevant to the human phallic symbol but here it stands for Mrs Ramsay. She is the live force, creative force of the Ramsay family. Exalting the feminine principle in life over the masculine, Virginia Woolf built her novel around a character embodying the life-giving role of the female. In opposition, she shows the male, both in the father and son aspect, as death-bearing?arid, sterile, hateful, and "fatal" . The female principle in life is exalted in all its aspects of love which are opposed to the harsh and critical aspects of the male principle, of fertility with its pattern of triumph over death in rebirth. What, then, becomes of the single obvious central symbol, the Lighthouse.

For more responses like this please visit this Worksheet

Waiting For Godot (Blog Task /Review)

• The Setting:

In this setting, as we have discussed in the class; is highly inspired by these paintings. These paintings shows hope about something good to be happen. The painting has been drawn during the romantic era. In first painting, one man and one woman are there. We connote it as if they are waiting to be something creative and positive to be happen while in the second picture, two man are longing with hopefor something meaningful and positive to be happen. The nothingness which depicted in the play can easily presents in the picture with few strokes.

• Important Thing:

The tree symbolizes the cross on which the Jesus was hanged. Cross is the sign of purity, sacrifice and religion. The tree is suggesting the presence of God and both the characters presents the two persons who crucified with Jesus. Indirectly it suggest that both are at the end of their life span(as they are old) and willing for salvation.
 In the Act II tree suggests the indifference of the universe and Nature towards the existence of human being, although it is one kind of spices on the Earth called Homosepians. Thee is despair, grief and nothingness in human’s monotonous life. Nature has not to do with it and it follows it’s own cycle of flourishing.

• Night Fall & Moon Appears:

Actually they are waiting for Godot. But Godot never come. The waiting is useless and continuous.  The night suggests that life is nothing. And there will be another day to wait. It also symbolizes that salvation is not going to happen and moon brings hope that there would be the day when Godot will come.

• Debris:

Debris means the wastage of collapsed buildings. Here I want to connect the poem by T. S Eliot ‘The waste Land’. Debris suggest the failure of materialistic world in human beings life to add meaning into it.  It helps to cut the time, engaged us in various entertaining activities but at the end of the day it has no worth. The setting of the play speaks more then words.


This blog is the response of this Worksheet.

The Sense of an Ending (Review / Blogtask)

The Sense of an Ending

The Phrase’ blood money ‘ is contains meaning that money which is earned by slay someone or give someone such unbearable pain that death could be counted better than pain. 
Here in the work ‘Blood Money’ stands for the breakup of the social taboo and Electra complex. Sarah Ford mother of Veronica has relation with Boyfriend named Adrian of Veronica. And have child from him. That’s hoe his Diary is owned by Sarah Ford.  
As a daughter Veronica have it later. The equation the diary has is like :
B= s –v x/+ a1 or  a2 +V +a1 X s=b 
 Here we can see the calculations in the relations, too, as the genre of the novel is post-modernist one. In the equation variables stands for characters. Lets see:
 A1= Adrin
V = Veronica
S = Sarah
A2 =Antony (Tony Webster himself) &
B = baby 
The young Adrian whom Tony met was not his friend but he is the child of the Sarah Ford and Adrian (Veronica’s boyfriend). Veronica was cursed as she was completely alone as lost her love as her first choice was Tony. After heart broke, she met Adrian.  

Veronica’s strange relationship was with her family that Tony notices something of unknown. But she is betrayed terribly by her mother through Sarah’s relationship with Adrin. But here after their bad breakup, his deadly letter, Adrian’s death and the life was left with. It would be quite simple to see Tony as a villan, his carelessly set about this chain of events in a variety of ways. At end completed view, which is possibly why she claim Tony will never understand it.

Da vinci Code (Review/Blog task)

1. Brown never wants to depict the anti-religion or anti-Christian book. He just writes another possibility of the pre-established religious belief. The response he had got from the society is the healthier one. There is the space of spiritual debate and movie adaptions.
2. The story is obviously fictional but the story line, name of some characters are inspired from the real facts and persons. If we can see the other side of the religion and emergence of Christian religion then this storyline cannot be neglected.
3. In Pradise Lost or, Da Vinci Code, woman is considered as substitute of Man. Due to her man has to suffer. She constantly needs protection etc matters are presented. But today when woman is showing her strength, and the killing of woman foeticide is increasing it is more appealing to youth that woman is the true Creator of man , it is woman who  can contains the Royal Blood,  and carry forward the blood line.
4. The narration like Paradise Lost leads humanity to believe one person’s ideas about woman.  Any narration is strong enough to change the social taboos and dos and don’ts. Eve is such a character whose portrayal puts question on every woman’s intentions and to her as marginal identity. I want to give example of the Sanskrit poem ‘ GeetGovind’ poem by a Jaydev and now the whole world consider Radha Krishna as great lovers. Da Vinci Code certainly hurts the social feelings about the religion but it also stands as challenging viewpoint of meta narratives. It is necessary in today’s globalising world.

5. In Hamlet by Kenneth Branagh the character of ‘Ophilia’ is quietly dependable on Hamlet and also firm about whom she love. But that firmness of mind proves dangerous for her. She is fragile and gorgeous. In Frenkenstine by the dsame director, Elizabeth’ is merely a substitute and viewer for the Victor. She is more at the receiver side. While in Da Vinci Code the characterisation of Sophie Nevue is quite different. As independent woman she emerges and a grace – womanish grace can be seen also when Langdon and Teabing informed her about the Holy Grail, Mary Magdalene, at that time she is merely a receiver but not losing her own stand as a person. She is persona rather then a woman in the movie with the Grace and honour.
6. There are Hindu myths and symbols, which can be read as many ways. The spirituality of Creative process is accepted. Feminine and mesculine power has given equal importance. The Linga of Lord Shiva is human phallic symbol and Ardhanaisvar is the union of Masculinity feminine.  The crarvings on Ajanta Elora caves suggests the openness of Hindu Culture.  We can coonect here the Pagan religion. The similarities can be found in Gods and Goddesses too.
7. I want to recall Windi Donger’s book ‘The Hindu’. But due to social sensitivity, the book is banned in India. There are many serials related to Hindu religion but none challenge the metanarratives.
8. Yes, when we do atheist reading , we can see the Leigh Teabing’s character as protagonist.
9. A) Identifying what is Knowable: The truth about Holy Grail and existence of Sacred Bloodline;
       B) Relationship of the knower and known:
         i) Robert Langdon: professor of symbolism and reading the symbols by Sauniere help Sophie
         ii) leigh teabing: Wants to destroy Holy Grail
        iii) Bezu Fetch: to catch the murderer
        iv) Sophie: Wants to know the truth and solve the puzzle by her grandfather
        v) Silas: to follow the orders given by Teacher.
C) Knowledge Down upon the right person at right time, right, place. Otherwise three may be good intellect but connecting dots ifs the problem, and when person actually know something s/he tends to hide it rather preserve it for right person. We can say that knowledge chooses the person.

Chetan Bhagat' ON@TCC (Review/Blogtask)

Chetan Bhagat' ON@TCC

1. Yes, In India it was the time when outsourcing and call centers were in trend & providing great opportunities of earning. The book ON@TCC reflects the time. It is more youth centric-a campus fiction. The characters are like peole around us. They are not from high class or unreal, but rather they are portrayed  as familier and common people and also depicted about their problems of daya to day life. 

Bhagat is keen observer of trends and find it is easy to present it as book and fictional form As he is reader centric , he presents such small matters that any common people can easily connect with it. The atmosphere he creates it quite similer to the atmosphere of call centers. It is the microcosm of the corporate culture developing in India. Not in Call centers but also in othe corporate sectors such exploitation and bossism is common practice. Honesty is considered as sycophancy and creative ideas are laughed at. This is expressed in the novel.

Bhagat is keen observer of trends and find it is easy to present it as book and fictional form As he is reader centric , he presents such small matters that any common people can easily connect with it. The atmosphere he creates it quite similer to the atmosphere of call centers. It is the microcosm of the corporate culture developing in India. Not in Call centers but also in othe corporate sectors such exploitation and bossism is common practice. Honesty is considered as sycophancy and creative ideas are laughed at. This is expressed in the novel. Yes , the way developed countries are soking the blood of Indian Youth by breaking the confidence or violant opposition for Indian youth as outsider Chetan has captured very relavent image of it in his this book. Pressurized IIMeatians are presenting in his books in one or another way.
 His books are popular with the easy language and current issues. He touches the minor things of life at surficial level rather than in depth.

2. His book can be considered as mannipean satire. In the Harold Pinter’s play ‘The Birthday Party’,  presenting the issues and problems in a humorous way with some sarcastic remarks. Same way issues are presented here. The underneath bitterness towards the sycophancy, bossism and American racial mindsets. To look at the people of developing country in derogative way is criticised indirectly. He knowingly or unknowingly wants to reestablish the spiritual faith of every Indians in God or Godlike things.

3. It is true that globalization  makes the world is becoming ‘flat’, and the developing countries are getting richer. The world is getting Flat id the Friedman Phenomenon, which suggest the increasing connectivity of the world and also the progress of the world is there. The opportunities of jobs and self-development are there. But for that one has to ruin the soul is not at all the enough cost to be paid!!! This point is directly pointed out by Bhagat.
4. The re is alternate narrative. Bhaget used ancient technique of prologue and epilogue as the part of fiction. There is first person narrative but after some chapter the writer changes his voice and speaks as Shyam
 Dues ex machine is the technique which scopes the alternate narrative. God’s call suggest something magical and amazing event. It brings hope. It is very Indian archetype which accept and expect the Godly presence in very critical situation. Yel Martine in Life of PI uses this technique. If the reader cannot connect then there would be alternative. One can put the character from the work and re-read it.
Yes it is the dream sequence of the writer. But in the dream if you see such a long story, one cannot remember it and it is impossible to have dream in such a good sequence!!! If the lady is not any character in the story then how she knows story in such a perfect way!!! If she is the writer, she can write story by herself. So one probability is that writer  wants us to believe in God.  It was none other but GOD..
5. Yes, I do agree, that Popular literature commonly lacks a sustained plot, worked out with close regard to cause and effect.Still more characteristically it lacks the study of character and the intellectual analysis of such varied problems as occupy the fiction of the present age.
The popular romances lay their stress chiefly on incident and adventure or simple intrigue, and set forth only the more familiar and accepted moral teachings.They represent, on the whole, an instinctive or traditional, rather than a highly reflective, philosophy of li  For all these reasons they have come to be regarded chiefly as the literature of children; a natural result, perhaps, of the fact that they originated largely in the childhood of civilization or among the simple peoples in more advanced ages.    It does not raise or answer abstract questions; it assumes that man knows what he needs to know in order to live.
6. It Is self help book as Bhagat has put some questioned in the prologue and also some rules in the mouth of God. They are relevant to solving personal problem specially when people are forgetting to listen their inner voice in the time of capitalization.
7. It is anti-American Novel.  I will answer that improve the Indianness in You. The knowledge of Ayurveda,  the knowledge of spirituality and Yoga must be  set forth and recommend to strengthen  the physic as well as intellect by avoiding Junks and be safe from the unseen chains of America as much as possible. 

The History of Radio & Television in India

“Communication is the process of transmitting and receiving symbolic cues, both verbal and nonverbal.”

-Vendemark&Leth

      Communication is the important phenomena of day to day life. It is a trivial thing yet important of our life. Language is the system in which different symbols are related to each other to transmit messages. 

          From the complete communication event, from the time that the source sends the message until it is received by the listener is called communication transection. Communication can be from one to one, one to many, many to many and many to one. Many to one and many to many communication, is called mass communication. There are many communication research done. The most effective communication occurs when the message transmitted and the messages received are identical. When there is no distortion of from the time it leaves the source until it is received, complete fidelity is said to exist in the transaction.There are various types of communication as given below.

•   Intrapersonal Communication
•   Interpersonal Communication
•   Group Communication
•   Mass Communication
•   Mass-line Communication

                   According to Hybels & Weaver (1974) mass communication is a communication system in which an identical message is originated by an institutional organization and sent to a large number of receivers through public channels. All mass media are mass communication but all mass communication are not mass media. Political meeting is the form of public speaking as well as mass communication. As with other form of communication, mass communication shares the component of source, message, receiver and feedback. The source may be many people, the receiver largely unknown and the opportunities for feedback limited. Messages become more simplified and repetitive when the audience is large.

Messages are considered successful when large numbers of people read, listen to view the mass media product. Most procedures of mess communication emphasize entertainment to attract larger audience. Research indicates that that mass communication works to reinforce existing than as an instrument of persuasion,

 Television:

Television is the most appropriate medium for mass communication especially for the developing countries because of its involving and absorbing nature. In 1930 a larger TV screen was demonstrated by radio corporation of America at New York. By 1937, thee were 17 TV stations operating experimentally.

History Of Television Broadcasting in India:

•    An experimental television service was introduced in India with the inauguration of Delhi Kendra using UNESCO grant on 15/09/1959.The experiment was given to the government of India by Philips India Ltd., a closed circuit television was set up at industrial Exhibition organized in Delhi.
• The object of this pilot project was ‘experimentation, training and evaluation. There were two programmers on Tuesdays and Fridays evening each of one hour duration. 
• Initially 21 TV sets were installed in the rural areas of neighborhood of Delhi.
• Later UNESCO supplied approximately another 50sets which were also installed in the rural areas. 

 Tele-clubs were set up at these community viewing centers. Tele-clubs were increased to 182 by the year 1964.
 In 1961, with the assistance of Ford Foundation, an educational program was telecast for the children of the Delhi Schools. The programs were on Physics, Chemistry, English and general Science.
 Up to 1965 TV was used for community and educational programs.
 In August 1965, the first general regular service began from Delhi by setting up a modern studio with the assistance of the Federal Republic of Germany. These general programs telecast in Hindi and English were onfolk, light entertainment, uiz programs, discussions in topical subjects, interviews etc.
 In January 1967, a pilot project started in Delhi for popularizing new agricultural practices. About 6200 sets were in operation within the range of 30 kms from Delhi station.
 From 1959 to 1971 department of TV covered only Delhi area.
 At the requests of the Government, a UNESCO, mission headed by John Willings visited India to analyze the development problems and training needs of TV broadcasting.
 In November 1969, the Willings Mission submitted a detailed report on various aspects of development of TV in India.
 In October 1975, TV service went beyond Delhi with the inauguration of the second TV Centre at Bombay. TV stations started functioning at Shrinagar and Amritsar.
 Further in 1975 itself Madras, Culcutta and Lucknow were included in the TV map of India.
 In April 1976, DD was constituted as a separate department from AIR  with its own Dir/General, during the internal energy.
 SITE –The Instructional TV Experience:-
• The Satellite Instructional Television Experiment or SITE was an experimental satellite communications project launched in India in 1975, designed jointly by NASA and the Indian Space Research Organization (ISRO).
• The project made available informational television programmes to rural India.
• The main objectives of the experiment were to educate the poor people of India on various issues via satellite broadcasting, and also to help India gain technical experience in the field of satellite communications.
• The experiment ran for one year from 1 August 1975 to 31 July 1976, covering more than 2400 villages in 20 districts of six Indian states and territories. (Andhra Pradesh, Bihar, Karnataka, Madhya Pradesh, Orissa, Rajasthan)
• The television programmes were produced by All India Radio and broadcast by NASA's ATS-6 satellite stationed above India for the duration of the project.
• The project was supported by various international agencies such as the UNDP, UNESCO, UNICEF and ITU. The experiment was successful, as it played a major role in helping develop India's own satellite program, INSAT
• The project showed that India could use advanced technology to fulfill the socio-economic needs of the country.
• SITE was followed by similar experiments in various countries, which showed the important role satellite TV could play in providing education.
• So that adoption of techniquies suggested into  the programe is possible and the possibility of the continuity of services after the satellite experiment, Community TV sets were installed in 2338 villages by ISRO,.
• The transmission was done by NASA satellite, the ATS 6 for four hours daily in 1975.
• The functioning of SITE was explained by Prof.K. Eapen as follows
 “SITE was tried out in a nation of 5671169 villages, 455000 of them were still depending on ancient means of water supply.”

 Village Selection.
• As the broadcasting time was limited, it was decided that the direct reception receivers would only be installed in 2400 villages in six regions spread across the country.
• Technical and social criteria were used to select suitable areas to conduct this experiment.
• A computer program was specially designed at ISRO to help make this selection. As one of the aims of the experiment was to study the potential of TV as a medium of development, the villages were chosen specifically for their backwardness.
• According to the 1971 census of India, the states having the most number of backward districts in the country were Orissa, Bihar, Andhra Pradesh, Uttar Pradesh, Rajasthan, Madhya Pradesh, West Bengal and Karnataka.
 Impact
• The SITE transmissions had a very significant impact in the Indian villages. For the entire year, thousands of villagers gathered around the TV set and watched the shows.
• Studies were conducted on the social impact of the experiment and on viewership trends. It was found that general interest and viewership were highest in the first few months of the program (200 to 600 people per TV set) and then declined gradually (60 to 80 people per TV set). This decline was due to several factors, including faults developing in the television equipment, failure in electricity supply, and hardware defects, as also the villagers' preoccupation with domestic or agricultural work.
• Impact on the rural population was highest in the fields of agriculture and family planning.
• Nearly 52% of viewers reported themselves amenable to applying the new knowledge gained by them.
• Before SITE, the focus was on the use of terrestrial transmission for television signals. But SITE showed that India could make use of advanced technology to fulfill the socio-economic needs of the country.
• This led to an increased focus on satellite broadcasting in India. ISRO began preparations for a country-wide satellite system. After conducting several technical experiments, the Indian National Satellite System was launched by ISRO in 1982.
• The Indian space program remained committed to the goal of using satellites for educational purposes.
• In September 2004, India launched EDUSAT, which was the first satellite in the world built exclusively to serve the educational sector. EDUSAT is used to meet the demand for an interactive satellite-based distance education system for India.
 Educational TV
• Use of television as an instructional medium was first reported in 1932 by State University of IOWA in USA on an experimental basis in a world fair. Later on, due to the World War II the introduction of television was slowed down; and as a result by 1948 there were very few educational institutions involved in using television as an instructional medium in spite of great interest in television by the educationists.
• In India, since the inception of TV network, television has been perceived as an efficient force of education and development. With its large audience it has attracted educators as being an efficient tool for imparting education to primary, secondary and university level students. Some of the major educational television projects are discussed as hereunder:
• Secondary School television project (1961): aim to improve the standard of teaching in view of shortage of laboratories, space, equipment and dearth of qualified teachers in Delhi this project started on experimental basis in October 1961 for teaching of Physics, Chemistry, English and Hindi for students of Class XI.
• Delhi Agriculture Television (DATV) Project (KrishiDarshan) (1966): The project named KrishiDarshan was initiated on January 26, 1966 for communicating agricultural information to the farmers on experimental basis for the 80 selected villages of Union territory of Delhi through Community viewing of television and further discussions among themselves.
• Satellite Instructional Television Experiment (SITE) (1975)
• Indian National Satellite project (INSAT) (1982):The prime objective of the INSAT project was aimed at making the rural masses aware of the latest developments in the areas of agricultural productivity, health and hygiene. It was initially targeted at villagers and their school going Children of selected villages in Orissa, Andhra Pradesh, Bihar, Gujrat, Maharastra and Uttar Pradesh.
• UGC-Higher Education Television Project (HETV) (1984)University students were the beneficiaries of this project. The University Grants Commission in collaboration with INSAT started educational television project, popularly known as ‘Country wide Classroom’ on August 15, 1984 with the aim to update, upgrade and enrich the quality of education while extending their reach.
• IGNOU-Doordarshan Telecast (1991): aim to provide tele-counselling to students of open universities in remote areas. Owing to the encouraging response from viewers, the frequency of this project was increased to five days a week. This programme is very popular.
• Gyan-Darshan Educational Channel (2000) : Ministry of Human Resource Development, Information & Broadcasting, the PrasarBharti and IGNOU launched GyanDarshan (GD) jointly on 26th January 2000 as the exclusive Educational TV Channel of India.

 Radio:
The number of Radio stations has increased from about 100 in 1990 to 209 in 1997, and the land area covered from 84% to 91%. However despite its tremendous reach and the fact that it presents the best options for low-cost programming , radio has been treated as a poor relative for over two decades. Inn some cases listenership has risen although very negligibly in some urban areas.
 Development of Radio in India
 Broadcasting was introduced in India by amateur radio clubs in Calcutta, Bombay, Madras and Lahore.
 Before the clubs launched their ventures, several experimental broadcasts were conducted in Bombay and other cities.
 The Times of India records that a broadcast was transmitted  from the roof of it’s building on August 20, 1921.
 By the mid-1930s, there were around 20 amateur radio operators in India
 Amateur radio operators played an important part in the Indian independence movement with the establishment of illegal pro-independence radio stations in the 1940s.
 The three decades after India's independence saw only slow growth in the numbers of operators until the then Prime Minister of India and amateur radio operator, Rajiv Gandhi, waived the import duty on wireless equipment in 1984.
 Since then, numbers have picked up, and as of 2007, there were more than 16,000 operators in the country.
 Amateur radio operators have played a vital role during disasters and national emergencies such as earthquakes, tsunamis, cyclones, floods, and bomb blasts, by providing voluntary emergency communications in the affected areas.
 All India Radio
• All India Radio (AIR), officially known since 1956 as Akashvani   is the radio broadcaster of India and a division of PrasarBharati. Established in 1936, it is the sister service of PrasarBharati'sDoordarshan, the national television broadcaster. All India Radio is one of the largest radio networks in the world.
• In British India, broadcasting began in June 1923 with programmes by the Radio Club of Bombay and other radio clubs.
• According to an agreement of 1926, the private Indian Broadcasting Company (IBC) was authorized to operate two radio stations; the Bombay station began on 23 July 1927, and the Calcutta station followed on 26 August 1927.
• On 1 March 1930, however, the company went into liquidation.
• The government took over the broadcasting facilities, beginning the Indian State Broadcasting Service (ISBS) on 1 April 1930 (on an experimental basis for two years, and permanently in May 1932). On 8 June 1936 the ISBS was renamed All India Radio.
• When India became independent in 1947 the AIR network had only six stations (in Delhi, Bombay, Calcutta, Madras, Lucknow, and Tiruchi); the total number of radio sets at that time was about 275,000.
• On 3 October 1957 the VividhBharati Service was launched, to compete with Radio Ceylon.
• Television broadcasting began in Delhi in 1959 as part of AIR, but was split off from the radio network as Doordarshan on 1 April 1976.
• FM broadcasting began on 23 July 1977 in Madras, and was expanded during the 1990s.
• AIR Services
• VividhBharati
• PrasarBharati
• Regional Services:
• The headquarters of the Regional Deputy Directors General are located at Delhi and Chandigarh (NR), Lucknow and Bhopal (CR), Guwahati (NER), Kolkata (ER), Mumbai and Ahmedabad (WR), Chennai and Bangaluru (SR).
• External Services: The external services of All India Radio broadcast in 27 languages to countries outside India. The first broadcasts were in Pushto, beamed to Afghanistan and the North-West Frontier Province. Soon broadcasts began in other languages including Dari, Persian, Arabic, English, Burmese, Japanese, Chinese, Malay and French. The external services broadcast in 16 foreign and 11 Indian languages, with a total program output of 70¼ hours per day on medium- and shortwave.
• News-On-Phone Service: All India Radio launched news-on-phone service on 25 February 1998 in New Delhi; it now has service in Chennai, Mumbai, Hyderabad, Indore, Patna and Bangalore. The service is accessible through STD, ISD and local calls
• Direct-To-Home Service: Direct-to-home (DTH) service is offered on 21 channels via Insat.
• FM.
• VividhBharati
 The VividhBharati Service of All India Radio was conceptualized to combat Radio Ceylon in 1957. Within no time it proved to be a popular channel of every household. VividhBharati radio channel was launched on October 3, 1957. The service provides entertainment for nearly 15 to 17 hours a day.
 VividhBharati is one of the best-known services of AIR. Its name roughly translates as "Multi-Indian Service", and it is also known as the Commercial Broadcasting Service (CBS).
 It is the most commercially-accessible of the AIR networks and is popular in Mumbai and other large cities.
 VividhBharati offers a wide range of programmes including news, film music and comedy programs.
 It operates on different medium wave-band frequencies for each city.
 40 VividhBharati stations across the country down-linked these programmes through captive earth stations provided at each of these AIR stations.
 These 40 VividhBharati stations are known as Commercial Broadcasting Service Stations and are located at all major and commercially vibrant cities covering 97% of the Indian population.
 Some programs broadcast on VividhBharati are:
 Hawa-mahal: Radio plays based on novels and plays
         • PrasarBharati
 PrasarBharati is India's largest public broadcaster.
 It is an autonomous body set up by an Act of Parliament and comprises
 Doordarshan television network and All India Radio which were earlier media units of the Ministry of Information and Broadcasting, Government of India.
 PrasarBharati was established on November 23, 1997 following a demand that the government owned broadcasters in India should be given autonomy like those in many other countries.
 The Parliament of India passed an Act to grant this autonomy in 1990, but it was not enacted until September 15, 1997.
• Frequency Modulation (FM) Broadcasting
 FM broadcasting were introduced in Madras in 1977 and latr in Jalandhar in 1992.
 On Auguest 15,1993 a frequency Modulation channel was launched in Bombay with nine hours of radio time leased to private producers.
 But it was only in 1993 when time slots came to be leased to private companies that FM became synonyms of pop music and youth culture.
 The music video channels , [v] and MTV channels were launched around the same time on star TV.
The particular type of media has established itself and has been able to generate a significant audience. It is the country’s one of the blood line that connects all the Indians. The development of media shows the development of country itself.

Studying Literature......

I have come across in the context of books since my childhood...have read many books, obviously just for entertainment and fun. As I have long time sharing of the books with my bed, and forgetting all the unwanted stuff is the chief motto of the time. But as the time passes it permits me to play outside the home and the level of education also needs more time. but, books- I can not sacrifice them. it takes me to the unknown and dreamy world where unknowingly it shapes my mind, understanding and viewpoints..
 in my under graduation I have studied many literary books. In fact i can say that I have enjoyed many books. We were exposed to new syllabus. So having original text in hand is a sign of studious student!!! Sounds funny but true. No, no I didn't have much text books but it may be either one or two.. and I never kept books in my hands, for me it was such a old fashioned ..I have a bag for it. We were lucky that our teaching faculty used to bring original text in the classroom. So we can see the cover pages of it and having quotes from it.   In syllabus we have works from the authors like: William Shakespeare,  Henrik Ibsen, Toru Dutt, Gandhiji, John Dryden, Rabindranath Tagore, John Osborn, Adulus Huxley, Jane Austen, etc. Criticism is also by R.J Rees.

That’s how literature is the firm part of myself. As other basic needs like thirst, hunger, fatigue, reading too is necessity for me. I learn many things from literature.  I would try my best to express it in words….

Literature gives me patience. Patience in the sense, wait until you are not shown both the sides of the coin, don’t rush in anything or for any one. Take your time. Let the time come…

Literature teaches me detachments. When you are in the crisis or unfavourable situation just detach yourself from the situation. This detachment can makes you able to judge the situation more clearly. It helps you to realise your mistakes if any. It may be save your relations. It may be control unwanted feelings of annoying, disgust and anger.

Literature taught me compassion, that engenders from the dealing; just put yourself at the other person’s place and try to see the things… And this makes me to forgive easily. But at a time it stops me to question the thing and sometimes I feel I am cheated. Now I am learning do what you heart suggests.

It is more difficult for me to point out what I have learned…as I never read for learning. Rather when I read the original text, I used to write my reflections in the book, in the margin area. After that I forgot it…and lose the track.

I have studied books of the author like Arthur Miller, Gandhiji, Ibsen, Rabindranath Tagore,  Shakespeare, Dryden , bacon , Huxley, etc. But I was just weaving bye bye to my teen age and welcoming my youth..at that time, I just not take seriously all that stuff. Critical eyesight was yet to develop. Was just having wonder in the eyes, opening beautiful and tender (seems tin that age now laughed at) some so called creative facts and findings from that book obviously with meaning .I like..

Trying my best to be true to me and this blog, I would like share some more… from poems I learn the how beautifully one can express even negative feelings too. The way of expressions changes many things, as it affects lots of things.

I do not have original text of English essays but yes during my schooling I am lucky to read essays of Javaharlal lNaheru, Kaka Kalelkar, Umashankar Joshi,  Manubhai Pancholi etc. writers’ essays. I learn how lightly and dhow heavily one can present thoughts with convincing tone. I have also read humorous articles by Jyotindra Dave, Vinod Bhatt, Ratilal Borisagar. It shows how to laugh on the situation, but I doubt if I can implement it every time..!!!!

Seems too long na...but One most important thing I have learn is that  I am human being, and no human beings are perfect. Accept your self s human being. Try to be calm and take it easy.. Do not rush to be perfect. Just be you. Master your skills but not in the cost of anything else. Practise daily, not for win the race but for more new then yesterday, a step ahead.

During these two years, I learn to expand myself. Show that you love yourself. Relearn the things. Unlearn the old learning. Question everything… and be confident. Creative ideas have no competition as it based on one’s mind and each one is less or mere creative in his or her own way… Never say no to do anything. Do not know what opportunity it brings to you….Be open enough that you can be you in every condition….

 

Use of Mythology in ‘Swamp Dwellers’

             
In African Literature we can see the tint of the fighting spirit as well as the wish to return to the roots and tradition. As they were having cruel and bloody past; they have hardly developed the understanding of literature. In the literature the author talks about very small and basic matters such as revolution, day to day life, rituals etc. In the s play ‘The Swamp Dwellers’, Wole Soyinka talks abbot the urban and village life and compare and contrast of it. 
“nothing rescues man from loss of self within this abyss but a titanic resolution of the will.”
- Wole Soyinka

Myths & literature:

In ancient classical tradition of drama, the plots were based on rituals. But it was never performed on stage. Myths are the stories which never die through ages and rooted the society with the ancient culture of the time and place. In literature they are woven in such a way that creates a different texture and gives pleasure of belongingness to the reader. It’s also helpful to define the social background in which the text has been emerged and how the society looks back to the past. 
               From the point of view of certain theologians, "myth is a necessary way of transcending reality" (Iloanusi 1984, 6). From this religious perspective, such theologians assert that myth entails saying "something deeper than would appear on the surface and that this something deeper cannot be exhausted or explained" (Rogerson 1974, 177-178). From another perspective, B. K. Malinowski maintains that myth "is not an explanation to satisfy a scientific interest, but a narrative resurrection of primeval reality, told to satisfy deep religious needs, moral cravings, social submissions, assertions and even practical requirements of man" (1926, 18). The view might be supportive of the theory enunciated in                   The Golden Bough: A Study in Magic and Religion (Frazer [1922] 1978). In this study, J. G. Frazer affirms that many myths once had their counterpart in magic. Thus, for Frazer, myth is a re-enactment which uses figurative language to effect certain significant past rituals in order to reproduce the original efficacy of such rituals for present reality. And yet Isidore Okpewho strongly suggests that for better insight into the nature and function of myth, "we should take seriously the view that myth is literature and therefore a matter of aesthetic experience and the imagination"

Myth in Soyinka’s Work:

           To explain how African theatre can re-enact African myth, Soyinka has written several essays dealing with the mythic sources of Yoruba ritual. According to Soyinka's interpretation, Yoruba culture separates the cosmos into the human world and the world of the deities. At the same time, the human world itself contains manifestations of the ancestors, the living, and the unborn. Soyinka believes this experience differs significantly from the Western idea that individuals orient themselves in their world through a sense of time as past, present, and future. In the Yoruba world, it is not the individual's sense of time that counts, but rather a community's collective sense that it has complex ties to the ancestral community and to the unborn community. Myths are important for Soyinka in so far as it increases understanding of or given dramatic forces o real human concerns and conflicts.
          The Swamp Dwellers focuses the struggle between the old and the new ways of life in Africa. It also gives us a picture of the cohesion that existed between the individual and southern Nigerian society. The conflict between tradition and modernity is also reflected in the play. The play mirrors the socio-cultural pattern, the pang and the sufferings of the swamp dwellers and underlines the need for absorbing new ideas. The struggle between human beings and unfavourable forces of nature is also captured in the play. Soyinka presents us the picture of modern Africa where the wind of change started blowing. Soyinka's messiahs fail as revolutionaries or as heroes who can lead their people out of chaos. Rather they succumb to it. Their failure is compounded by the fact that they struggle alone as individuals to steer their destiny out of tragedy. In this regard, Soyinka has effectively interpreted the tragic reality of our contemporary world.
 Here the text stands on the pillar of the myths related to Ogun, Obatala and Yoruba.

Myth of Ogun:

                              Ogun is the God of Iron. He holds Iron blades to unite Gods with humanity. At the end he started to kill his own people and in drunken state creating chaos and lost him completely. Here one of the brothers Igwezo, is the representater of the God Ogun.as he is the only Igwezu had blade in his hand in the play. Obatala is Ogun;’s friend. As blind man is the friend of Igwezu. When Ogun wants to explore the Earthfor living Obatala Has helped him. Same way the land is unseen due to Swamp. There is a draught and not a single bite of food is available. When Igwezu wants to toil the land for grain, Blind man offer the help. 
                           There was a King Sango. He was dethroned by his brother. His wife too, left him After realisation he left his palace as looser man. With him he has his servent. But in the jungle he has hanged himself. Igvazo is the man who is the symbol of failed youth of Yoruba community. He connects the tradition with the modern colonized youth who strive for new lives in the city and also wants to be connected with the roots.  The two polars tries to meet.                Igwezu is the man returned to village empty handed.   Same way in the end when Igwezu has left the story, it is believed that he has lost his courage and commit suicide. He told Blind man that – 

“the swallows find their nest again when the cold in over”

               Igwezu has lost his wife. His wife started living with his brother Awuchike.  He came back to the village full of swamp. We can compare it with Jungle or forest.A draught is there in the village. So feeling failure Igwezu left in the end.   When Igwezu walks off, the Beggar explains that he will fulfill the function of Sango's one loyal companion: “I shall be here to give account” 
             Eldred Jones observes that human life presents constant challenges and constant choices, and man has to thread his way through all the contradictory alternatives. Soyinka prefers the personality of the Yoruba God, Ogun, to express this thought. Ogun has always lived a life amidst the challenges and the risks of wrong choices. It is after learning from our experiences that we reach true wisdom. 

The Yoruba Myth:

It is very famous myth of Yoruba community about the twins. The mother of twins is considered as earthly Goddess Eden. The birth of twins can be connected with the God Ibeji. The mother is respected and twins are symbol of fertility. 
In the play there is a chacharacter named Alu who gave birth to twins name Awuchike and Igwezu. She is strong and perfect woman in the play as his husband Makuri used to say to her-

“There wasn't a woman anywhere more faithful than you, Alu; I never had a moment of worry in the whole of my life”

Here notiable thing is that for Soyinka, “nothing rescues man (ancestral, living or unborn) from loss of self within this abyss but a titanic resolution of the will”
It is dreadful to say that one of the twins is died, if it is died. It is belief that twin has linked the another twin. So instead of saying that they used to say that the twin went to market. And they kept a wooden doll of that twin in the house. 

Here when Awuchike went to the city and never come back, Alu as frighten if he was died. But she never speaks about it. The constant absence of Awuchike makes him present in the play throughout. Igwezu once said that he is died for us…But Alu don’t want to say it but she says – “I had another son before the mire drew him into the depths” . Althought the brothers are quite mature for effects of myth, Makuri and Alu has fear about it. 

The portrayal of tragedy on the stage is done through visual images and metaphor. The most striking tragic image is death. It could be a spiritual death, a physical death or an emotional or mental death. The causes of death may be many but the emotion that surges is one of grief and anguish. Whether it is living with the age-old meaningless traditions of the village or in the corrupted heartless city, it is the death of the spirit in modern times. “Is it of any earthly use to change one slough for another?” asks Igwezu. So the spiritual death and draught both are presented with myths. 

Myth of Obatala:

                   As Ogun is the God of Iron, Obatala is the God or creation. He has created human beings. Once he was drunk and created deformed shaped human beings. Blind Bagger is the character who overpowers his deformity and tried to help the villagers. He resembles the deformity and mistakes of ancient God. Obatala is known for two great acts. In the beginning, the earth was covered with water and swamp.
All the gods ignored the marshy earth, but Obatala went to the supreme god, Olorun  (also called Olodumare),24 and volunteered to drain the marsh and make solid land that could support life. Olorun agreed, and Obatala descended from heaven and made land. But there were as yet no people to live there. So Obatala took up his second great task. He reached into the wet clay and shaped the human form, into which Olorun breathed life. 
                 The Beggar focuses on the “miles” of swamp before the sea, where, as Makuri warns him, “you'll not find a human soul” (89), and he wishes, like Obatala, to “redeem […] the swamp […] to drain the filth away and make the land yield” (92). He is prevented only because Makuri and the Kadiye, deviating from the principles of Olorun himself.
          “Angel from the God,’ would probably correct words for this character. His is a character that eclipses the importance of the protagonist Igwezu as he is the guide and listener for Igwezu. For villagers he speaks on behalf of Igwezu. “My faith promises me and I knew that I was living but blind”. 
     But due to drunkard state the disability was there So Obatala has special blessings for these deformed human beings. Obatala have had Palm Vine then, but beggar refuses to have vine or any other alcoholic drink. 
       He is also the offspring’s of Obatala. When other god comes they asks for the drum and other things while Obatala never likes all. He is recognised from his white cloths only. Bagger also has used the white cloth to wear.

“He wears a long, tubular gown, white, which comes below his calf”

 It shows the purity and divinity. 

           Thus use of myh makes this work very much African in it’s tone. The Yoruba Myth is the famous Nigerian myth in Africa. The tradition containd in Myths – universal truths – is directly hits the civilised society. Return to the tradition and the quest of post colonisation period is seen it the work.