Women innovative lessonplan from Rafeek Fasiludeen 313

Shanta Shelke

Poet

Shanta Janardan Shelke was a Marathi poet and writer. Apart from this, she was a journalist, a professor, a composer, a story writer, a translator, a writer of child literature, someone who presided over literary gatherings, and more. Wikipedia

Born: October 19, 1922, Indapur

Died: June 6, 2002

Name of the teacher trainee       : Sameer K M                                               Standard   : 8^th

Name of the school                      : MMHSS Nilamel                                      Duration   : 45mts                                                

Subject                                           : English                                               

Unit                                                : Wings and wheels                           

Subunit                                               : Marvellous Travel                    

Issue                                               : Issues related to travel.

Sub issue                                       : Emphasize the importance of travelling much more than any

                                                          Schooling.

Curricular statement                  : Creating awareness about the importance of travelling .

Learning outcome                       : The learner,

                                                          1.Develop reading skill with proper stress & tone .

                                                          2.Understand poetic devices like images, rhyming words,     

                                                              rhyming scheme, alliteration and assonance.

                                                          3.Develop interest and curiosity in travelling to explore new 

                                                              World.

Content analysis                          : Ideational content

                                                              Joshua Fernandez is a Malaysian film director, who shares his 

                                                              Views on travel through the poem ‘Marvellous Travel’ ,here 

                                                              the poet travels watching all the people he comes across and 

                                                              he believes that all travel are marvellous.

                                                           Linguistic content

                                                              New words like horoscope,races,laces,tribes,testimony were

                                                              Introduced.

Pre-requisites                             : The learner may or might have get the mental and spiritual

                                                        aspects of travelling.

Teaching learning resources    : Source book, course book, dictionary, chart.

Class room process

Pupils response

Informal interaction  Good morning students, Have you had your breakfast? What about your studies?         Entry activity Do you like poems ? How many of them have the habit of writing poems ? Have you ever heard about the poems which is related to travel ? Yes, we can go through such a poem.        Link talk Give some clues about the author and write the title of the poem on the black board.    ‘MARVELLOUS TRAVEL’ ·         He is a Malaysian film director. ·         He believes in creative collaboration. Write the title and name of the writer on the black board and also the major characteristics. Then the teacher shows a video of the poem ‘Marvellous travel’ with the help of a lap top.    Micro processing of the input    Model reading by the teacher The teacher reads the poem with proper stress and rhythm and also describes the theme of the poem.    Individual reading Teacher asks the pupil to read the poem silently and individually. Corrections are made whenever necessary .And asked them to make accordingly, that to put (√) ,if there is any difficulty and put (!) for what they found interesting or surprising.     Glossary Reference Students are asked to refer the glossary to find out the meaning of difficult words. Horoscope – birth chart. Races - a group of people who shares similar and distinct physical characteristics. Laces – a fine open fabric of cotton. Tribes – a social division in a traditional society consisting of families linked by social, economic, religious or blood ties with a common culture and dialect, typically having a recognized leader. Testimony – evidence.    Collaborative learning Students are ask to form groups and share their ideas in groups. They are also ask to write down the words in the personal word list.    Mega phoning the doubts Give opportunity to each group to raise their doubts to other group. Example : Group A to Group B What is the meaning of the word ‘hope’                   Group B to Group A The meaning of the word is expectation.     Facilitation by the teacher Teacher helps to clarify the difficult areas which no groups could effectively tackle. Teacher also explains the difficult area.    Scaffolding Questions In order to make the content clear scaffolding questions are asked to the students. The students are asked to write down the answers. 1)      Why the poet does says that he travels with his eyes ‘eyes’ and ‘thought’?        The poet keenly observes and explores everything that comes along during his travel and enjoys them. 2)      What does the poet mean by ‘I travel with my pen’?              He records his travel experience / to     write travelogues.

Pupils interact very actively. Pupils answered in simple English Pupils listen to the teacher carefully. And they understand the title and author of the poem. Pupils get the overall picture of the poem.   Pupils listen carefully Pupils read the poem individually and silently. And mark accordingly. Pupils understand the meaning of difficult words. Pupils form groups and share their ideas  Both the groups actively participated Pupils listen to the teacher very curiously Pupils write the answer in simple English

BLOG POSTING

POWER POINT PRESENTATION

article

"Kubla Khan"
and the Implied Critic's Decision Style

Symbol and the Ineffable
Many readers who believe that "Kubla Khan" is a great poem, feel that its greatness may have to do with the irruption of the irrational and of chaos into our rational and ordered world, with a force that is unprecedented in lyric poetry. This irruption, with the enormous energy that infuses this poem, generates what is frequently characterized as an "ecstatic quality". When we say that "'Kubla Khan' is an ecstatic poem", we do not report the successful arousal of an ecstatic experience in the reader, but the detection of an ecstatic quality. The ecstatic quality is, then, a perceived quality of "Kubla Khan"; it is also a "regional quality", that is, a quality that belongs to a whole, but not to any of its constituent parts. Readers who consider "Kubla Khan" a great poem, usually feel that this ecstatic quality is present in the poem; readers who tend to regard it to be less than a major poem, usually have doubts as for the presence of this ecstatic quality. Coleridge himself contributed to the controversiality of his poem, by adding the famous preface to it, in which he claimed to have composed it in an opium induced dream. Some readers believe that being in direct contact with the unconscious mind is the source of real greatness in poetry, and no poem can be credited with this virtue as much as a poem composed in an opium dream. On the other hand, Coleridge himself suggested that the poem remains "a psychological curiosity". Now notice this. When we say ecstasy, we denote a compact concept, no less conceptual than the words logic or concept themselves; whereas the state of mind "ecstasy" appears to be inaccessible to a conceptual language. Since a literary discourse can hardly escape the denotative use of language, the paradoxical conclusion seems to be, that an ecstatic poem is a contradiction in terms; which we know, it is not. 

It is sometimes suggested that this poetic dilemma is solved through the use of symbols, and that the symbol somehow partakes in, and "conjures up", an unspeakable reality. This is, precisely, said to be the difference between symbol and allegory: whereas the latter presents the reader with what can be expressed in a clear conceptual language, the former gives us some mysterious insight into an unspeakable spiritual reality. Coleridge himself was one of the chief exponents of this conception. Here I shall mention only one of his most frequently quoted formulations of this distinction. An allegory merely translates abstract ideas into a "picture-language". A symbol, on the other hand,

is characterized by a translucence of the special in the individual, or of the general in the special, or of the universal in the general; above all, by the translucence of the eternal through and in the temporal. It always partakes of the reality which it renders intelligible; and while it enunciates the whole, abides itself as a living part in that unity of which it is the representative.

In a paper abounding in wise formulations, Peter Berek (1978:121) makes the following observation, giving Coleridge's distinction a special twist:

Symbolism is a literary resource based on a metaphysical assumption: the assumption that there exists an order of being inaccessible to the analytic mind and inexpressible in discursive logical language. [...] Indeed, for the symbolist the imagination is a synecdoche for the Transcendent.

And later, again,

Symbolism is perhaps a yearning after allegory in the absence of positive ideas to allegorize, and as such it is a particularly valuable allegorical resource for romantic and modernist writers whose intellectual subject is the difficulty of the process of search, not the clarity of the thing found (ibid).

Coming back now to Coleridge's passage, it emphasizes the revelation "of the special in the individual, or of the general in the special, or of the universal in the general; above all, of the eternal through and in the temporal". Now, how can we distinguish a piece of literature which "merely translates abstract ideas into a picture-language", from one which reveals the special through the individual, etc., and above all the eternal through and in the temporal? In many cases, I believe, it will be impossible; unless we consider the latter as a special case of the former: symbols translate abstract ideas into a picture-language, where the picture itself "is always a part of that, of the whole of which it is the representative". But even this restriction is quite frequently applicable to allegories. Allegoric images most typically have metonymic relationships to the thing represented (the allegoric image of Summer bears flowers; the allegoric image of death is a skeleton, and so forth).

It will be noted that I have misquoted Coleridge's passage in the preceding paragraph, substituting revelation fortranslucence. The key to the distinction between symbol and allegory is to be found in the meaning of translucence. The American College Dictionary compares the adjectives transparent and translucent. They "agree in describing material that light rays can pass through. That which is transparentallows objects to be seen clearly through it. That which is translucent allows light to pass through, diffusing it, however, so that objects beyond are not distinctly seen". One important feature that distinguishes symbol from allegory is, that the spiritual reality presented in and through the "picture-language" is perceived as more diffuse and less distinct in the former than in the latter.
This, precisely, seems to explain, why the realities represented by symbols cannot be expressed in conceptual discourse, in "ordinary language". Words refer to concepts, to categories, not to occurrences out there, in the external world, or even to subjective mental events; the word ecstasy refers to the concept "ecstasy" and not to the mental event ecstasy. The resulting problem can be explained by reference to "lateralization", to the specializations of the two hemispheres of the brain. Language, logic, mathematics are "linear" activities, and are typically associated with the left hemisphere of the brain.

If the left hemisphere is specialized for analysis, the right hemisphere [...] seems specialized for holistic mentation. Its language ability is quite limited. This hemisphere is primarily responsible for our orientation in space, artistic endeavor, crafts, body image, recognition of faces. It processes information more diffusely than does the left hemisphere, and its responsibilities demand a ready integration of many inputs at once. If the left hemisphere can be termed predominantly analytic and sequential in operation, then the right hemisphere is more holistic and relational, and more simultaneous in its mode of operation (Ornstein, 1975: 67-68). 

The right and the left hemispheres do not necessarily differ, then, in the kind of information processed, but rather in the mode of processing. Words refer to compact entities accessible to the analytic mind: categories or concepts; the experiences associated with the right hemisphere, on the other hand, are typically diffuse and global, accessible to "holistic mentation". Consequently, words may capture the information associated with the right hemisphere. What they cannot capture, is its diffuse mode of processing. That is why it is so often felt that information given about certain human experiences may be all true, and still, the experience itself may be "unspeakable". States of consciousness associated with mystic and ecstatic experiences are typically such experiences related to the right hemisphere. In some poetic styles at least, among them in romantic poetry, poetic language typically has recourse to poetic devices that tend to render information as diffuse as possible; and, at the same time, to integrate diffuse inputs through simultaneous processing (cf. Ornstein, 1975: 95). Some of these devices, at least, achieve this by activating the right hemisphere at the time when the left hemisphere is involved in the processing of the linguistic input.

Nissim Ezekiel

From Wikipedia, the free encyclopedia

Nissim Ezekiel
Born	16 December 1924 Bombay, British India
Died	9 January 2004 (aged 79) Mumbai, India[1]
Occupation	Poet, playwright, art critic, editor
Nationality	Indian
Period	1952–2004

Nissim Ezekiel (16 December 1924 – 9 January 2004) was an Indian Jewish poet, actor, playwright, editor and art-critic. He was a foundational figure in postcolonial India's literary history, specifically for Indian writing in English.

He was awarded the Sahitya Akademi Award in 1983 for his Poetry collection, "Latter-Day Psalms", by the Sahitya Akademi, India's National Academy of Letters.^[2] Ezekiel is universally recognized and appreciated as being one of the most notable and accomplished Indian English language poets of the 20th century, applauded for his subtle, restrained and well crafted diction, dealing with common and mundane themes in a manner that manifests both cognitive profundity, as well as an unsentimental, realistic sensibility, that has been influential on the course of succeeding Indian English poetry. Ezekiel enriched and established Indian English language poetry through his modernist innovations and techniques, which enlarged Indian English literature, moving it beyond purely spiritual and orientalist themes, to include a wider range of concerns and interests, including mundane familial events, individual angst and skeptical societal introspection

Kamala Surayya

From Wikipedia, the free encyclopedia

For the 1973 film, see Madhavikutty (film).

Kamala Surayya
Born	31 March 1934 Punnayurkulam, Malabar District, Madras Presidency,British India
Died	31 May 2009 (aged 75) Pune, Maharashtra, India
Pen name	Madhavikkutty
Occupation	Poet, novelist, short story writer
Nationality	Indian
Genre	Poetry, novel, short story, memoirs
Notable awards	Ezhuthachchan Puraskaram,Vayalar Award, Sahitya Akademi Award, Asan World Prize, Asian Poetry Prize, Kent Award
Spouse	K. Madhava Das
Children	Madhav Das Nalapat Chinnen Das Jayasurya Das
Relatives	Balamani Amma (mother) V. M. Nair (father) Nalapat Narayana Menon(grand uncle)

Kamala Surayya (born Kamala; 31 March 1934 – 31 May 2009), also known by her one-time pen name Madhavikutty and Kamala Das, was an Indian English poet and littérateur and at the same time a leading Malayalam author from Kerala, India. Her popularity in Kerala is based chiefly on her short stories and autobiography, while her oeuvre in English, written under the name Kamala Das, is noted for the poems and explicit autobiography.

Her open and honest treatment of female sexuality, free from any sense of guilt, infused her writing with power, but also marked her as an iconoclast in her generation.^[1] On 31 May 2009, aged 75, she died at a hospital in Pune.^[2] Das has earned considerable respect in recent years.

R. K. Narayan

From Wikipedia, the free encyclopedia

Not to be confused with K. R. Narayanan.

R. K. Narayan
Born	Rasipuram Krishnaswami Iyer Narayanaswami 10 October 1906 Madras, British India
Died	13 May 2001 (aged 94) Chennai
Occupation	Writer
Nationality	Indian
Genre	Fiction, mythology and non-fiction
Notable awards	Padma Vibhushan, Sahitya Akademi Award, AC Benson Medal
Relatives	R. K. Laxman (brother)

R. K. Narayan (10 October 1906 – 13 May 2001), full name Rasipuram Krishnaswami Iyer Narayanaswami, was an Indian writer, best known for his works set in the fictional Indian town of Malgudi. He is one of three leading figures of early Indian literature in English (alongside Mulk Raj Anand and Raja Rao), and is credited with bringing the genre to the rest of the world.

Narayan broke through with the help of his mentor and friend, Graham Greene, who was instrumental in getting publishers for Narayan’s first four books, including the semi-autobiographical trilogy of Swami and Friends, The Bachelor of Arts and The English Teacher. Narayan’s works also include The Financial Expert, hailed as one of the most original works of 1951, and Sahitya Akademi Award winner The Guide, which was adapted for film and for Broadway.

The setting for most of Narayan's stories is the fictional town of Malgudi, first introduced in Swami and Friends. His narratives highlight social context and provide a feel for his characters through everyday life. He has been compared to William Faulkner, who also created a fictional town that stood for reality, brought out the humour and energy of ordinary life, and displayed compassionatehumanism in his writing. Narayan's short story writing style has been compared to that of Guy de Maupassant, as they both have an ability to compress the narrative without losing out on elements of the story. Narayan has also come in for criticism for being too simple in his prose and diction.

In a writing career that spanned over sixty years, Narayan received many awards and honours. These include the AC Benson Medalfrom the Royal Society of Literature, the Padma Bhushan and the Padma Vibhushan, India's third and second highest civilian awards.^[1] He was also nominated to the Rajya Sabha, the upper house of India's parliament.