Mass media and mass communication

Assignment of mass media and mass communication

Name :- Jagruti R. Vasani
Semester :- 4
Roll No. :- 15
Enrollment No.:- 2069108420180054
Batch :- 2017-2019
Paper :- Mass Media And Mass Communication
Topic :- History of Indian Cinema
Email-Id :- jagrutivasani17@gmail.com
Submitted To :- Smt S. B. Gardi Department of English, MKBU
History of Indian Cinema:-
A Brief History of Indian Cinema. One of the most flourishing cinema industries found today is
in India. In 1897, Save Dada made two short films, but the fathers of Indian cinema were Dada
Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in
1931 made India's first talking film.Indian films are unquestionably the most –seen movies in
the world. Not just talking about the billion- strong audiences in India itself, where 12 million
people are said to go to the cinema every day, but of large audiences well beyond the Indian
subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far
East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great
love for Indian popular cinema, and many have been Hindi Films fans for over fifty years.
Indian cinema is world – famous for the staggering amount of films it produces:the number is
constantly on the increase, and recent sources estimate that a total output of some 800 films a
year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of
this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu,
have the widest distribution within India and Internationally. The two sister languages are
spoken in six northern states and understood by over 500 million people on the Indian sub –
continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official
Indian languages to become the languages of Indian Popular cinema when sound came to the
Indian Silverscreen in 1931 .
Themes in Indian cinema – Early Indian cinema in the 1920s was founded on specific genres,
such as the mythological or the devotional film. The sum and substance of the mythological
theme is the fight between good and evil, and the importance of sacrifice in the name of truth.
The retelling of stories known through an oral tradition was an important element in the
success of the mythological film: The Ram Leela (a celebration and re – enactment of the
exploits and adventures of Ram) and the Ras Leela (episodes from Krishna’s life) are said to be
of particular influence in Indian cinema. Such reconfirmation has always been an element of
Indian culture. As Arundhuti roy says in her novel, The God Of Small Things, ‘The Great stories
are the ones you have
heard and want to hear again.’ Roy was speaking of the Kathakali dance form, but the argument
holds good for cinema too. This trend was visible not only in the silent era. It Malayalam and
other languages, KEECHAKAVADHAM in Tamil etc. are good examples. In almost all the
languages of India, during the silent as well as the talkie era, themes and episodes from the
PURANAS, THE RAMAYANA and MAHABHARATA were treated cinematically. Some folk tales
and legends also became cinematic themes.

Major Studios – The creation of the major studios in Madras, Calcutta, Lahore, Bombay and
Pune in the 1930s was a crucial move in the development of a proficient Indian film industry.
Studio owners including Himanshu Rai and Devika Rani, V. Shantaram, V. Damle and S. Fatehlal
set the tune of film production, playing an essential role in promoting national integration.
People of all castes, religious, regions, and social classes worked together in the various studios.
Film production has always prided itself in the way it has been inclusive and continues to be a
shinning example of communal (i.e. inter religious) harmony and tolerance. Hindus and
Muslims work together and promoting and National Integration and communal harmony has
always been a favourite theme of the Indian film.
End of Studios – Financers who made money during the war years found film –an easy way of
gaining quick returns, and this new method of financing movies brought about the end of the
studio era. The studio owners could not afford to pay high fees for their staff and stars, and so
freelancing made a return – a system whereby all film practitioners were employed on a
contract – by – contract basis. The system was over by the late 1940s, and widespread
freelancing, established by the 1950s, set the pattern for film production thereafter.
Golden Age Of Indian Cinema – The 1950s was led film historians to refer to this glorious time
as the golden age of Indian Cinema. Film makers created authored and
individual works while sticking strictly within the set conventions of the films. The example of
Mahatma Gandhi and Prime Minister Nehru’s vision of the newly nation was also highly
influential throughout the decade, and many excellent Urdu poets and writers worked with film
makers in the hope of creating a cinema that would be socially meaningful. It is no surprise that
the 1950s is regarded today as the finest period in Indian cinema, and the era has profoundly
influenced generations of Indian film makers in a way that no other decade has done since.
The important film makers of this period not only made commercially successful works but also
mastered the language of cinema. They understood how performance, photograph, editing and
above all, music could be used to create a new aesthetic. It was around this time that Indian
films started to receive regular worldwide distribution, and films such as AWAARA made by Raj
Kapoor and his co- star Nargis major celebrity in places as far afield as Russia and China.
Mehboob’s AAN (1952, AKA MANGALA, Daughter of India) and MOTHER INDIA (Perhaps the
best known Indian films of all) also won large audiences beyond the Indian sub continent. The
average Indian film does not pretend to offer a unique storyline. A new twist to a familiar
storyline helps a film to succeed, if the audience is looking for originality, they know it is
principally to be found in the score. Film music is of such primary importance in today’s Indian
cinema that it more or less determines the box- office fate of most movies. Leading
choreographer Farah Khan believes that, ‘What is saving cinema from being engulfed by
Hollywood is our song and dance routines, because they just can’t imitate that’.
During the struggle for Independence – P.K.Nair, one of the India’s leading film historians,
believes that D.G.Phalke chose mythology for the cinema not only because it was an easy
means of communicating to the largest number of people, but also because Phalke saw
mythological stories as a way of evoking patriotic feelings in the
Indian Nation at a time when the country was a British colony. By showing Lord Krishna
overcoming the demon snake Kamsa in in his 1919 film KALIYA MARDAN, Phalke showed that it
was possible to fight the powerful and to challenge the imperialism that had plundered the
whole Nation in the same way the demon snake had poisoned the sacred river. Social Film￾Aside from the mythological, the 1920s saw the birth of other film genres, such as the social
film (examples include OUR HINDUSTAN 1928, and ORPHAN DAUGHTER), the historical film
celebrating Rajput history and grandeur, the stunt film based on the Hollywood model, and
Muslim subjects inspired by Persian love legends including Laila Majnu and stories set in the
splendor of Mughal Courts. The Persian love stories depended on family conflicts, court
intrigue, poetic dialogue, and songs of love and lament and these were better served by cinema
after the birth of the Films with Muslim subjects were later developed into the ‘ Muslim Social’,
of which the author Shahrukh Hussain commented, ‘Predictably, Muslim socials were about
Indian Muslims and were the forum for the portrayal of many social institution of the exotic
upper and lower classes of this community.
The Indian film industry, famously known as Bollywood, is the largest in the world, and has major
film studios in Mumbai (Bombay), Calcutta, Chennai, Bangalore and Hyderabad. Between them,
they turn out more than 1000 films a year to hugely appreciative audiences around the world.
For nearly 50 years, the Indian cinema has been the central form of entertainment in India, and
with its increased visibility and success abroad, it won't be long until the Indian film industry will
be well thought-out to be its western counterpart- Hollywood. Mainstream commercial releases,
however, continue to dominate the market, and not only in India, but wherever Indian cinema
has a large following, whether in much of the British Caribbean, Fiji, East and South Africa, the
U.K., United States, Canada, or the Middle East.
Indian Art Cinema
India is well known for its commercial cinema, better known as Bollywood. In addition to
commercial cinema, there is also Indian art cinema, known to film critics as "New Indian Cinema"
or sometimes "the Indian New Wave" any people in India plainly call such films as "art films" as
opposed to mainstream commercial cinema. From the 1960s through the 1980s, the art film or
the parallel cinema was usually government-aided cinema.
Indian Commercial Cinema
Commercial cinema is the most popular form of cinema in India. Ever since its inception the
commercial Indian movies have seen huge following. Commercial or popular cinema is made not
only in Hindi but also in many other regional languages of East and South India. Let's look at some
of the general conventions of commercial films in India. Commercial films, in whatever languages
they are made, tend to be quite long (approx three hours), with an interval. Another important
feature of commercial cinema in India is music.
Regional Cinema India
India is home to one of the largest film industries in the world. Every year thousands of movies
are produced in India. Indian film industry comprises of Hindi films, regional movies and art
cinema. The Indian film industry is supported mainly by a vast film-going Indian public, though
Indian films have been gaining increasing popularity in the rest of the world, especially in
countries with large numbers of emigrant Indians.
To sum up, the Indian cinema has grown quite big during the past century, especially during the
past six decades. This latter period saw the growth of the cinema a mass medium. Despite
thematic peculiarities and drawbacks, social conditioning and cultural inhibitions, it has proved
its merit in technical perfection, artistic evaluation and directorial innovations. Indian cinema,
by and large, has remained on the path of clean popular entertainment. In the coming
decades , it can give more attention to the social dimension of the medium , particularly its use
in mobilizing the masses through effective messages on serious issues such as social justice ,
environmental safety and a more rational and scientific approach to human problems .
 *Thank You*

Paper 14 The African Literature

Assignment of African Literature
Name :- Jagruti R. Vasani
Semester :- 4
Roll No. :- 15
Enrollment No.:- 2069108420180054
Batch :- 2017-2019
Paper :- The African Literature
Topic :- Conflict between Civilization And Barbarians
Email-Id :- jagrutivasani17@gmail.com
Submitted To :- Smt S. B. Gardi Department of English, MKBU
Introduction:-
 Waiting for the Barbarians are written by J.M. Coetzee who is south African Writer. As we all know
that African writers can’t write with comfort and with peace because they themselves feel and
experience of agony and tourney of the society. We can’t except that these writer write
something new or which give some pleasure because it is not impossible because they have no
good memories. They know only pain and suffering atmosphere and the mostly class conflict
colour conflict or racism in which they are grown up.
The Nobel prize winner writer write waiting for the barbarians in which he describes the conflict
between two community and identity. The main conflict of the novel between civilization and
barbarians but first we have to discuss about what is civilization and what is barbarians.?
What is Civilized.?
Civilized is the modern concept in which people have some of sophistication in each things means it is
developed by urban people who believe themselves civilized with culture and some technical
and urban development.
What is Barbarians.?
*According to civilized
*Barbarians are brutal, uncultured who have no sense of behaviour
*Barbarians behaves like savage like or similar to animal
*But question is who decide, who is civilized or who is barbarians..?
Conflict between Civilization and Barbarians
The march of “civilization” against “barbarism” is a late-19th-century construct that cast imperialist wars
as moral crusades. Driven by competition with each other and pressures at home, the world’s major
powers ventured to ever-distant lands to spread their religion, culture, power, and sources of profits.
This unit examines cartoons from the turn-of-the-century visual record that reference civilization and its
nemesis—barbarism. In the United States Puck, Judge, and the first version of a pictorial magazine titled
Life; in France L’Assiette au Beurre; and in Germany the acerbic Simplicissimus published masterful
illustrations that ranged in opinion and style from partisan to thoughtful to gruesome. In the
“civilization” narrative, barbarians were commonly identified as the non-Western, non-white, non￾Christian natives of the less-developed nations of the world. Three turn-of-the-century conflicts in
particular stirred the righteous rhetoric of the white imperialists. One was the second Boer War of
1899–1902 that pitted British forces against Dutch-speaking settlers in South Africa and their black
supporters. The second was the U.S. conquest and occupation of the Philippines that began in 1899. And
the third was the anti-foreign Boxer Uprising in China in 1899–1901, which led to military intervention
by no less than eight foreign nations including not only Tsarist Russia and the Western powers, but also
Japan.
Civilization and barbarism were vividly portrayed in the visual record. The word "Civilization" (with a
capital “C”), alongside “Progress,” was counter posed against the goddess figures and other national
symbols were over written with the message on their clothing and the flags they carried.
The archetypal dominance of “Civilization” over “Barbarism” is conveyed in a 1902 Puck graphic with the
sweeping white figure of Britannia leading British soldiers and colonists in the Boer War. A band of tribal
defenders, whose leader rides a white charger and wields the flag of “Barbarism,” fades in the face of
Civilization’s advance. The caption, “From the Cape to Cairo. Though the Process Be Costly, The Road of
Progress Must Be Cut,” states that progress must be pursued despite suffering on both sides. The
message suggests that the indigenous man will be brought out of ignorance through the inescapable
march of progress in the form of Western civilization.
Such avowed paternalism towards other cultures recast the invasion of their lands as altruistic service to
humankind. The aggressors brought progress in the form of modern technology, communications, and
Western dress and culture. Christian missionaries often led the way, followed by politicians, troops,
and—bringing up the rear—businessmen. Education in the ways of the West completed the political and
commercial occupation. Cartoons endorsing imperialist expansion depicted a beneficent West as father,
teacher, even Santa Claus—bearing the gifts of progress to benefit poor, backward, and childlike nations
destined to become profitable new markets. In the United States, the Boer War, conquest of the
Philippines, and Boxer Uprising prompted large, detailed, sophisticated, full-colour cartoons in Puck and
Judge. Although these magazines were affiliated with different political parties—the Democratic Party
and Republican Party respectively—both generally supported pro-expansionist policies. Opposing
viewpoints usually found expression in simpler but no less powerful black-and-white graphics in other
publications. Periodicals like Life in the U.S. (predecessor to the later famous weekly of the same title),
as well as French and German publications, printed both poignant and outraged visual arguments
against the imperialist tide, often with acute sensitivity to its racist underpinnings.
These more critical graphics did not exist in a vacuum. On the contrary, they reflected tense debates
about “civilization,” “progress,” and “the white man’s burden” that took place on both sides of the
Atlantic. It was the anti-imperialist cartoonists, however, who most starkly posed the question: who is
the real barbarian? The terms “barbarism,” “barbarians,” and “civilization” figure prominently in political
speeches, the media, historiography, cultural theory, and everyday language in the West.
This study intervenes in the rhetoric of “civilization versus barbarism,” which has been particularly
popular since the end of the Cold War and the fall of communism in the Soviet Union and Eastern-bloc
Europe, and especially since the terrorist attacks on September 11, 2001. The opposition between “us”
and “them” today is primarily established in moral and cultural terms. Global conflicts are no longer
perceived as a struggle between right and left, capitalism and communism, but rather in terms of what
Samuel Huntington has called “the clash of civilizations.” This purported clash is often translated as a
struggle of “right versus wrong” or “good versus evil.” In this context, tagging others as “barbarians”
enables their construction as enemies needing destruction rather than worthy adversaries with
legitimate standpoints. In this study, I take issue with the current rhetoric around barbarism and
civilization and interrogate contemporary as well as historical uses of the “barbarian” in the West.
Despite the long-standing history of the “barbarian,” and although a lot is being written and said these
days about “barbarism” and “civilization,” the meaning of these terms is often taken for granted and the
hierarchical opposition between “civilized” and “barbarians” remains fixed. In the face of this semantic
rigidity, I show how literature, art, and theory can mobilize the concept of barbarism in the cultural field.
Instead of reinforcing a discourse that divides the world into forces of good and evil, I contend that
barbarism can also challenge dominant discourses and engage in constructive operations. By dislodging
it from its conventional contexts, I rekindle the critical potential of this concept, propose it as an agent in
cultural critique, and steer it towards new fields of application.
In this study, issue with the current rhetoric around barbarism and civilization and interrogate
contemporary as well as historical uses of the “barbarian” in the West. Despite the long-standing history
of the “barbarian,” and although a lot is being written and said these days about “barbarism” and
“civilization,” the meaning of these terms is often taken for granted and the hierarchical opposition
between “civilized” and “barbarians” remains fixed. In the face of this semantic rigidity, I show how
literature, art, and theory can mobilize the concept of barbarism in the cultural field. Instead of
reinforcing a discourse that divides the world into forces of good and evil, I contend that barbarism can
also challenge dominant discourses and engage in constructive operations. By dislodging it from its
conventional contexts, I rekindle the critical potential of this concept, propose it as an agent in cultural
critique, and steer it towards new fields of application. Both “barbarism” and the “barbarian” are
accompanied by a seemingly inescapable negativity. Barbarism operates as the negative standard
against which civilization measures its virtue, humanity or level of sophistication. In this opposition,
barbarism and civilization are interdependent concepts. The “civilized” can conceive themselves as
sophisticated, mature, superior, humane, because they construct their “barbarians” as infantile, inferior,
or savage. In refusing to go along with this logic, I contend that the concept of barbarism oscillates
between two conflicting functions. On the one hand, it reinforces the discourse of civilization that needs
it as its antipode. On the other hand, barbarism also nurtures a disruptive, insurgent potential, which
can undermine the workings of the same discourse that constructs the “barbarian” for the sake of
civilization’s self-definition.
The struggle between civilization and barbarism over centuries is incredibly well documented. Walter
Benjamin declared that “there is no document of civilization which is not at the same time a document of
barbarism” and this essay will declare that he is correct. It is indeed true that there is a constant struggle
between these two social structures, and many of the struggles will be highlighted and analysed.
Moreover, the paper will then go one step further by offering a partially Marxist analysis of the question.
The relevance of this critique will be determined by applying it to modern historical events. Not only is
there a struggle between civilization and barbarism as two separate entities, for example ‘good’ and
‘evil’, but there is an inherent interconnectedness whereby “civilization reproduces barbarism within
itself”. This will be the basis of a paper that will conclude that the struggle between civilization and
barbarism is at the heart of world politics, but the self-destructive tendencies within civilization are
absolutely imperative to fully understanding this extraordinary struggle.
These days the conflict between civilisation and barbarism has taken an ominous turn. We face a
conflict between civilisation and culture, which used to be on the same side. Civilisation means rational
reflection, material wellbeing, individual autonomy and ironic self-doubt; culture means a form of life
that is customary, collective, passionate, spontaneous, unreflective and a rational. It is no surprise,
then, to find that we have civilisation whereas they have culture. Culture is the new barbarism.
Epilogue is that Thus the conflict between civilization and Barbarians remain there it is.
 *Thank You* 

Paper 13 Assignment

Assignment of The New Literature
Name :- Jagruti R. Vasani
Semester :- 4
Roll No. :- 15
Enrollment No.:- 2069108420180054
Batch :- 2017-2019
Paper :- The New Literature
Topic :- Significance of the title The White Tiger
Email-Id :- jagrutivasani17@gmail.com
Submitted To :- Smt S. B. Gardi Department of English, MKBU
Significance of the title THE WHITE TIGER:-
The White tiger novel written by Arvind Adiga.
The title is significant because both balram and the tiger are distinctive and
are different beings.Balram earns this nickname when he impresses a
visiting school official with his intelligence and reading skills. The White Tiger is a symbol for rare talent and only one in 10000 Bengali tigers
is white. The white tiger is a rare breed, and Balram was also marked
different and rare because of his intelligence. “That’s what you are (the
white tiger), in this jungle.” As you can see above, the school inspector
marked Balram from the beginning as unique (like the white tiger), and
Balram succeeded in showing the inspector to be right by achieving success
against all odds (poverty). Adiga says his novel "attempt[s] to catch the
voice of the men you meet as you travel through India the voice of the
colossal underclass.
Arvind Adiga’s debut novel, The White Tiger, is a commentary on the
contemporary and almost universal theme of poverty and frustration of modern
man. Marginalized people are usually discriminated, ignored and often
suppressed on the basis of race, caste, gender, culture, religion, ethnicity,
occupation, education and economy by the mainstream. The same happened to
Balram, the son of Vikram Halwai, a rickshaw puller, who was born in
Laxmangarh, in the district of Gaya. Through the novel, the author presents the
subaltern voice through the voice of Balram Halwai, a self-styled successful
entrepreneur. Written in the epistolary form, the novel is a series of letters
written over the period of seven nights from Balram Halwai alias Ashok Sharma, a
self-styled ‘Thinking Man and an entrepreneur’ to Wen Jiabao, the Chinese
Premier who is ‘on a mission’ who ‘wants to know the truth about Bangalore’.
 The novel depicts the story about a compelling, angry and darkly humorous
man’s journey from Indian village life to entrepreneurial success. The
representation of Balram’s status in the beginning of the novel is like subaltern
destitute. However, at the end of the novel we find him holding the position,
which was ideologically and socially restricted for him. He achieved this higher
status through manipulation, murder and acquisition of wealth. The
metamorphosis in the life of the protagonist of the novel from Munna Balram
Halwai White Tiger Ashok Sharma clearly presents the degradation of humanity as
a compulsory trait of modernization. The novel is a remarkable study of politico￾socio and cultural life of India.
The metaphors like ‘the white tiger’, ‘the darkness’, ‘the black fort’, the
chandelier’, ‘the rooster coop’ etc. highlights the extreme reality of India. In fact, The White Tiger is a metaphor of contemporary Indian reality with all its colors.
Animals are the best metaphors inter alia in the white tiger. The metaphors of
animals used sharply fit the situation and they depict the psyche of the people
briefly. The most striking aspect of the language in the novel is the use of
metaphor, of which the title is the most obvious example. Balram, around whom
the story of the novel revolves, is referred to as ‘the white tiger’ which signifies
power, freedom and individuality. The metaphor used in the title, The White Tiger
reveals the psyche of the central character, Balram Halwai. The White Tiger is
kingly, predatory, harmful and a rare species, resembling the nature of the
character here.
He is the one who got out of the “darkness” and found his way into the “light”.
There is an interesting story behind how Balram earns this nickname, ‘the white
tiger’, the symbol for rare talent. In his school at Laxmangarh, he impresses a
visiting school official with his intelligence and reading skills. The inspector also
presents a parting gift a book entitled Lessons for Young Boys from the Life of
Mahatma Gandhi.
The inspector praised Balram calling an intelligent, honest and vivacious fellow in
the crowd of thugs and idiots: In any jungle, what is the rarest of animals the
creature that comes along only once in a generation? I thought about it and said:
‘The White Tiger’. That’s what you are in this jungle. The metaphor of the white
tiger is in the stark contrast with the other metaphors
of ‘the human spiders’ as the protagonist himself puts
, are the tea-shop workers who never get anything in life, not even the healthy
body far to talk of materialistic things and comfortable life.
Adiga’s novel ‘The White Tiger ’is multilayered. The book is exotic, beautiful,
mysterious, colorful land mystical.
The novel The White Tiger is about a poor villager called Balram. The boy lost his
mother in his early age and while studying in school he lost his father. An
inspector who visited his school calls him as White Tiger. Unfortunately, at an
early age Balram is forced to earn money. Then he becomes a taxi driver in Delhi. Only then he sees the world of glamour and fake personalities. He decides to kill
his master. He takes away Ashok’s money by killing him and leaves to Bangalore.
India’s major problem is vast and ditched between rich and poor. A white
tiger is the rarest creature in the jungle that comes along only once in every
generation. When Balram attends his school in village, he is named by a school
inspector as the “The White Tiger’’, of his contemporaries. He is the only child in
the class who can read and write. The inspector even promises him to give him
scholarship for his further study to fulfill his potential. But his bright future is
spoiled. His family is in debt and he is forced to leave the school. He starts
working in order to pay his family’s depts.
The lordship ruined the poor not only in India but also everywhere. Adiga uses an
effective technique in the novel. Balram’s life story revealed to the readers
through a letter.Balram comes to know about the Chinese premier’s visit to India.
As soon as Ashok returns from America, Balram becomes his driver. Apart from
driving he cooks, cleanse, and does all sorts of work that are demanded by his
master. Balram points out the master-servant relationship to be the “Rooster
Coop’’ syndrome. In the markets of New Delhi, hens are stuffed into wire cages
and they shit and stamp on each other. According to Balram , the condition is
same to the poor.
Balram represents the poor, the subaltern, the illiterate, and the lower class of
India. Adiga shows the ‘darker’ and the ‘brighter’ sides of India. The title is
significant because both balram and the tiger are distinctive and are different
beings.Balram earns this nickname when he impresses a visiting school official
with his intelligence and reading skills.
The White Tiger is a symbol for rare talent and only one in 10000 Bengali
tigers is white. This shows the rarity of the species. Similarly, Balram –the white
tiger is also symbolic in many ways. His actions, deeds and thinking reflect the
rarity within him. The way he encounters problems and situations in life is
different from that of others. He is brave enough to break out of his coop, in
which a massive people similar to him have been trapped in. This is evident of his
uniqueness.The entire novel is narrated through seven letters by Balram Halwai, an
exceedingly charming, egotistical admitted murderer, to the Premier of China,
who will soon be visiting India. Adiga simply uses India and the corruption and
poverty within it as a backdrop to comment on vast complex aspects of human
nature and psychology. Balram is an Indian man from an impoverished
background, born into the „darkness‟ of rural India. His family is from the Halwai
caste, a caste that indicates sweet makers. His village is dominated and oppressed
by four landlords. There are currently no white tigers in the wild. Color
morphs are typically associated with rarity and separate endangered
species, which is not the case for white tigers. They possess a double
recessive gene that expresses a white coat. In China, the White tiger
represent one of the four cardinal points and the animal gods who
represent the Emperor. It is the symbol of strength, courage and war. Every
time a white tiger is born, it means that there is a right man on the throne.
The novel mirrors the exact life scenario of the downtrodden and the poor.
They suffer a lot within their limitations and are unable to come out of it. They do
not dare to break their bars because of their trapped nature under the rich
landlords and masters. If they attempt to come out of their slavery, they might be
forced to face many dangers and threats by the authoritative people. So they are
stuck in their situations. But, apart from all these people, Balram is very
courageous and different, and has made an attempt to overcome his obstacles to
idolize himself as the “White Tiger’’. He has other ways but to kill his master and
steal the money. Though these two crimes are deadly sins, Balram makes use of
these crimes be weapons, as his situation is even more tragic and pathetic. He has
not thought of creating his identity. He has remained as an unidentified and an
unworthy man. Everyone in this earth has his own rights to live his life. But in the
present contemporary world, it is not so. Only the rich can survive and the poor
always suffer. Therefore, the author has kept a suitable title to his novel.
Thus, the title is significant to the incidents connected to the novel as well as
relevant to the topic. The title is significant because both balram and
the tiger are distinctive and are different beings.Balram earns this nickname
when he impresses a visiting school official with his intelligence and
reading skills. The White Tiger is a symbol for rare talent and only one in
10000 Bengali tigers is white.

Language Lab Review

Language Lab Review:

What is language lab.?
➤ A language lab is a dedicated space for foreign language learning where students access audio-visual materials.

Advantages of language lab review

* Overcoming Shyness, the use of language learning system encourage learner to talk freely and loose their inhibitions when talking in front of their peers. Lab system tends to make students more anonymous.

*Immediate knowledge of results, it is observed that one method of arranging the tape aims at achieving knowledge of result.

*Attention of the individual learner, as language lab allows the learner to listen to the program stimulus individually. Each individual learner's attention is focused on the program material being studied.

* Self pacing, the learners may work though the lesson material at a pace suited to their ability. The language lab is a personal tutor for them.

* Between laboratory session the teacher can scrutinize student's performances on tape, at his lesuire and be in a position to advice student how to avoid persistent errors before next session.


Disadvantages of Language Laboratory:
* It requires electricity for its operation which might be a limiting factor, lack of constant power supply is a major problem facing the language lab utilisation power failure obviously will have a disruptive effect on its utilisation.

* Special training on the part of the teacher is essential the teacher has to undergo some training on how to handle the lab teaching effectively.

* It requires special personnel for its upkeep and maintenance it does not require everybody rather it require those who will be educated in the field.

This are the advantages and disadvantages of the language lab.



                                                  Thank You..!

Bulletin Board Committee Report

Bulletin board committee report “If you not willing to learn no one can help you If you are determined to learn no one can stop you” Bulletin board is the mirror of any institution which shows x-ray image of student’s ability of creation and expression, which runs with contribution of student’s creativities. In our Department of English, students share their various works like… Poems, Drawings, short stories, Articles etc. Also Bulletin Board contains memories in form of collage which reminds us memories of previous batches. So it is not just part of traditions but also it preserves all memories. Some students may have hidden talent but little bit, to speak and stand. But here are more things to share and enthusiasm Shawn by our students .they share with us many creative activities throughout the year . As per we had celebrated many special days like for example: women’s Day , Christmas Day , Republic day , Independence day ,Gurupurnima celebration, Kite Festival, Navratri, Holi,  accordingly we organized things for bulletin . so, that we can share things like what is happen in our department ,co-curricular activities. It was an great experience for us in this year because from this year Dilipbarad sir has gave opportunity that we had 2 leaders in each committee. so, at the result of that we have done our best . At the end of the this Journey,   we would like to thanks to our active members and specially Disha Gediya , Vipul Dabhi, Zankhana Matholiya , Krishna Patel , Jeel Vyas ,Mehul Dodiya, for active participation and helping throughout the year without you  this journey as leader is incomplete .at last but not least we also thankful to Pro. Dilip_Barad for time and again encouragement and brighten our skills .                                                                                      Thank You..!

Bulletin Board Committee Presentation

Bulletin Board Committee Presentation

Bulletin Board Committee from jagruti vasani

Gardening Committee Presentation

Gardening Committee Presentation

Gardening Committee from jagruti vasani

Gardening Committee Introductory Presentation

Gardening  Committee Introductory Presentation

Gardening Committee from jagruti vasani