Tuesday 16 June 2020

Flipped Learning - Assignment 1 Day 1 16/6/2020 #eFDP2020 #MKBU

Assignment 1 Day 1 16/6/2020

This blog is a part of assignment assigned to us in eFDP; Faculty Development Programme 2020 for MKBU Teachers. Here I will be writing something about Flipped Learning.


What is Flipped Learning?

Flipped Learning is “a pedagogical approach in which direct instruction moves from the group learning space to the individual learning space, and the resulting group space is transformed into a dynamic, interactive learning environment where the educator guides students as they apply concepts and engage creatively in the subject matter.” (Bright)

It is a learner centered approach where learners are given an environment to work on their own pace, atmosphere and time through videos and other resources. Then the teacher discusses in the class if the learners have any doubt.

Here I am sharing one article and a video on Flipped Learning which enhanced my understanding about the topic.

Article on Flipped Learning from Academia.edu

“Using Flipped Learning to Facilitate Cross-Cultural Critical Thinking in the L2 Classroom” by Birgit . A. Jensen ( East Carolina University)

https://www.academia.edu/43097683/Using_Flipped_Learning_to_Facilitate_Cross-Cultural_Critical_Thinking_in_the_L2_Classroom

This article proposes using the flipped learning approach to help solve this dilemma of insufficient time. The first part of the article differentiates between “flipped classroom” and “flipped learning,” and then how it can enrich the cultural offerings of conventional L2 textbooks. The second part of the article describes practical implications of flipped learning. It provides sample assignments from a flipped learning module.The third part of the article encompasses reflective analyses from student and instructor perspectives as well as pedagogical recommendations for using flipped learning to enhance critical cultural awareness by promoting cross-cultural critical thinking skills.

Video on Flipped Learning from Youtube.

This Video highlights the basic of Flipped Learning. It clears the concept in very effective way.

Hope this will help you as well to know something about Flipped Learning.

Happy Learning!!!!

Works Cited:-

Bright, Sarah. Flipped Classroom vs. Flipped Learning: What’s the Difference? 21 January 2015. web. 15 June 2020. <https://blog.capterra.com/flipped-classroom-vs-flipped-learning-whats-the-difference/>.


Tuesday 28 April 2020

PhD Assignment Paper 2 - Literary Theory - "Reading: Gender Perspective"

Assignment
Ph.D. Coursework

Research Scholar: - Vaidehi Hariyani
Registration no. :- 1845
Subject: - English
Subject Paper 2:- Literary Theory
Topic : Reading: Gender Perspective
Institute: - Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
Guide: - Dr.Dilip Barad




 Reading: Gender Perspective
Reading is the most pleasurable thing when it comes to students of Literature.  Reading has wonderful power to enhance the language abilities as well as the human survival. We know much about Importance of reading. For each and every individual the reading as well the interpretation differs. For example Harry Potter is said to be fantasy book for Children, but if we read we find something that is related to everyone’s life. But then why some readers don’t find it fascinating? The answer might be about one’s interpretation according to their perspective. Similarly when a man and woman reads it differs. In this assignment we will try to explore two articles which will help us to get answer about this question.
The articles are:-
1.)  Reading as a Woman - Jonathan Culler
2.)  ‘Reading like a Man’ - Men in Feminism – Robert Scholes

Before beginning the exploration of the articles, we can see that words ‘as’ and ‘like’ in the title. It highlights the major difference. ‘As’ means you are and ‘like’ you are trying to be like them. When you are and when you try it totally differs.

Reading as a Woman - Jonathan Culler
Reading and Interpretation are based on Individual.
So, what about a woman reader? Is a woman reader born or made? Is being a 'woman reader' a biological phenomenon or a product of prolonged social conditioning? In a male-dominated world, almost all walks of life witness this marginalization of the female. One of the pivotal concerns of feminist study is to construe the way in which a woman reads. It must not be forgotten that 'woman' here is not just confined to a specific gender or sexual identity. Far beyond appealing to a sexual identity, 'reading like a woman' concerns itself with associating the eclectic and holistic range of experiences that one has undergone.
By reading between the lines or by tracing the undercurrent symbolic structures within a text, one would develop a theoretical position as a woman, relying on the fact that she has been living the life of a woman. Culler then remember Virginia Woolf's oft-quoted remark of women's inheritance in the form of difference of view or difference of standard. However, this difference is not always given or 'inherited' so to say, it must be produced. It can be produced by differing.
There is no denial of the fact that feminist criticism is concerned with the appeal to the authority of women's experience and a female reader's experience. It also has a lot to do with the metamorphosis (transformation) in the hypothesis of a female reader. That would, in turn, alter one's approach to a text. This entire process ultimately awakens us to the relevance of sexual codes in a text.
In the age of reader-oriented criticism, earnest endeavor is to be made for taking the road less travelled by bringing into limelight the female experience; that female experience which has hitherto been subservient if not non-existent. As Showalter puts it, this process of changing our apprehension of a given text can be done by the hypothesis of a female reader. Due to the paramountcy of male-centric analysis, this structure of female experience has been hibernated for ages. This structure can surface quiet loud and clear in the feminist criticism provided it addresses the issue of women not always reading as woman.
Now the question arises that "Why do women not read as women?" This can be convincingly answered by the fact that reading, just like any other socio-cultural activity, has been colored by male-centered programming. Hence, the gender-politics or marginalization of female existence has affected reading experience as much as it has affected other human activities. Consequently, women have been directed to identify with male characters even against their own interest as women. This may also happen on a quiet subconscious level - way beyond one's realization.
The critic exemplifies 'The Legend of Sleepy Hollow' to argue that the universality of a text is also determined by male-oriented parameters. In the case of a text where a male is considered a hero for fighting against the prominence of women, a female reader is conditioned to identify with that character. If she approaches the same text from a female perspective which is more likely, probable or convincing in her case; she would never be able to identify with such a male character.
Similarly, 'A Fairwell to Arms' has also been brought under the scanner of aforementioned theoretical concepts. This classic text presents a world with male prominence. In such a world, a good woman does not exist at all. Appreciating this literary work by turning blind eye to its jaundiced perspective would be not just unjust but unacceptable.
Feminist criticism, thus, aims at changing the way one reads, consequently changing the way one thinks. Feminist interpretation of reading practices is followed by altering the same.
Instead of being an asserting reader, a feminist critic has to be a resisting, non-conformist reader. Such an approach would ignite the process of eliminating the male-centric thoughts and behavioral patterns which have dominated human mind for quite a long time. (Culler)

In reply to Johnathan Culler’s, Robert Scholes comes up with ‘Reading like a Man’ - Men in Feminism.
Following Culler, he begins by rewriting a quote borrowed by Derrida.
“If we consider for example what is called a reading man – for example me, to the extent that I’m supposed to be a man – then reading as a woman should be less reading as a woman than reading from or on the basis of what comes to me from a feminine place.”

He raises a question Where is this feminine place and how does a man have access to it. To this problem he quotes Derrida’s statement.
“I too have learned from the ecoute of women, from listening to the degree I can to a certain feminine voice.” (Scholes)
So here a question might come that what is it that sets a limit to Derrida’s ability to hear “a certain feminine voice.”? Scholes adds a few more questions to this statement. Why does Derrida need to suggest that he hears this voice less well than he hears other voices? What can it be other than his own membership in the class of males, with all that implies in the way of experience?
It can be seen that the earlier concept of Experience which was rejected earlier is now accepted.
Scholes observes that Derrida tries to complicate the question of gender to deconstruct it.
“Because it’s not such simple thing when we say that whoever bears a masculine proper name, is anatomically male, etc. is a man. This feminine voice can pass through trajectories that are extremely multiple… In other words, on the other side, and even in the most feminist women, the masculine voice is not silent.”
Here the text is indicated as ‘Laughter’. Scholes read this laughter as symptomatic. Feminism and Feminist have been put to their own place again. Whenever women speak up, it is the phallocentric male voice speaking through them. When they read actively and aggressively as member of the class, woman, are they then reading through male eyes as well? Or are they finally reading as women conscious of their own experience as a member of a class who share that experience?
Scholes simplifies this problem through another sets of questions. Is there any difference between reading as a woman and reading like a woman? Can women actually read as women because she is a women, or she can only read like a woman because no individual can ever be woman? Can man read as woman? Or either one of them can read as woman? What is the difference between man and woman?
According to Scholes, until no one notices or cares about the difference we had better not pretend it isn’t there. No man should seek in way to diminish the authority which the experience of woman gives them in speaking about the experience, and every women should be very vary of critical systems that deny or diminish that authority.
To conclude the topic he writes, Experience sets limits even as it confers authority. If time or space separate us from our own experience, this separation is never complete. We are subjects constructed by our experience and truly carry traces of it in our mind and on our bodies. Those who are male cannot deny this as well. With the best will in the world we shall never read as a woman or not like a woman.
At last he quotes, “For me, born when I was and living where I have lived, the very best I can do is to be conscious of the ground upon which I stand: to read not as but like a man.”
By reading both the articles we can find out that the reading of any gender mainly is based on individual experiences which sets up the preconceived notion about anyone. This experience brings out the difference between reading as woman and reading like Man. It all depends on the human experiences rather than being gender biased.



Works Cited

  1. Culler, Jonathan. "'Reading as a Woman'." Eagleton, Mary. Feminist Literary Theory A reader. A John Wiley & Sons, Ltd.,Publication, 2011. 291. Print.
  2. Scholes, Robert. "'Reading like a Man'." Eagleton, Mary. Feminist Literary Theory A Reader. A John Wiley & Sons, Ltd.,Publication, 2011. 294. Print.

PhD Assignment Paper 1 - Research Methodology - "Scholar's Life"



Assignment
Ph.D. Coursework

Research Scholar: - Vaidehi Hariyani
Registration no. :- 1845
Subject: - English
Subject Paper 1 :- Research Methodology
Topic : Scholar’s Life
Institute: - Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
Guide: - Dr.Dilip Barad





Scholar’s Life

Abstract researcher is constantly a researcher. Today the greater part of them gain their living as individuals from showing resources in schools and colleges all through the world. Their duty is very remote from the quest for learning. They need to do numerous different works being as educator, chairmen, scholastic panel individuals, and so on. These as well as they need to do their private job as companions, guardians, family, social works, and so forth. In the bustling calendar the abstract familiarity with the artistic researcher keeps twenty-four-hour days. It implies their thoughts and contemplations are going on related with their work. They need to do performing multiple tasks all the time whether in school, college or at home. Along these lines, as an abstract researcher they must be ready entire days. It is currently just about a century since scholarly examination started to be professionalized. For researchers there is a whole lot of nothing condition in which they think about just as researcher.

As indicated by Wayne Booth, for example, The Scholar lamented the expansion of paper themes that focus on the formal parts of artistic writings "secluded from the impacts of morals, governmental issues, history, rationale, rationalization, and even sentence structure." The extent of English examinations presently likewise incorporates composing hypothesis and instructional method. In the meantime significance of the word 'signifying' have been definitely re-imagined. It is endlessly elusive word. Presently a days, academic movement progress toward becoming for social affair figures as opposed to information. The scores of gatherings are simply staying; just amount is lying, lost of value. The investigation of writing stays at base a strongly private interest. Nobody read papers before a group of people to see his or her unique thoughts on an artistic point imprinted in a scholarly diary. Right Intentions of gatherings are to love of books and an expending enthusiasm for the scholarly and stylish inquiries from various foundations and tastes. In grant there is no bias conceived of national inception, statement of faith, shading or social class. They in every case live in most genuine vote based system of all, the majority rules system of the insightfulness. Researchers are cooperating to serve society, not for private magnification. Researcher dependably think in various courses as contrast with basic man, dependably consider the better society while normal man consider his own benefits. Along these lines, from these numerous ways researcher is altogether different than others.

Two Principles of Scholar's Life

1) Let others comprehend what you are really going after. Try not to stress over exhausting them; in the event that you are truly energized, your fervor will undoubtedly be infectious. Genuine researcher dependably opens up his works or his thoughts that what he think and how he think. He never shrouds his abstract works as opposed to he displays it. In this innovation period, researcher shares his works through advanced instruments and due to that more individuals can peruse it on less demanding way. This is one of the incredible advantages of this techno-period. What's more, as a researcher, he should need to utilize it.

2) Keep up with what other individuals are doing, in your own field as well as in others too. As a researcher, he should must know about his time and society. He should must be nearer eyewitness, so he comes to know or comprehend that what is happening in and around us. As an abstract researcher, he should need to know everything related with writing however just that much isn't sufficient. He needs to eyewitnesses each handle, what's going there. Along these lines, these two standards are vital to being a researcher.

Different things identified with researcher's Life

Researchers are continued by attractive quality of reasonable play, sense of pride, and expert resolve. Now and again researchers are debilitated and may share the conviction, so common in the word outside, that our accomplishments have an incredible quality, or on the off chance that they are genuine, at any rate they are worthless: that they don't add anything to the entirety of human insight or bliss. However in the event that researchers are neglected and underestimated, the blame is somewhat theirs. They happily learn, yet outside the classroom a large number of them are inquisitively uninterested in educating. Numerous cutting edge commentators and researchers have built up the propensity for talking just to one another, ignoring the more extensive gathering of people of taught individuals. It is researcher's obligation to grab each chance to speak with the lay group of onlookers, as in book audits or in articles and papers in the mainstream press on history, memoir and Culture. To teach understudies at all dimensions to peruse, compose, and think, creating in them the scholarly inquisitive propensity for mind that gets an eyeful of an impartial eye over extremely essential issues, valuing their complexities; and to lead understudies by broad perusing and basic investigation of perceived essayists and masterminds, antiquated and contemporary, inside and outside the standard, to look for, in Matthew Arnold's words, "The best that is known and thought on the planet". Furthermore, the reason for making in their own lives a 'current of new and crisp thoughts' proper in this present time. Furthermore, current time is connected with innovation so researchers and understudies of writing additionally need to utilize these flow apparatuses of innovation, to stroll with time. What's more, on account of that individuals comprehend and welcome crafted by researchers, utilization of those works in improvement of society. (Altick)

Conclusion:-
In this way, to be a researcher isn't a simple undertaking, and the life of researcher is a lot busier than others. They need to dependably be prepared to do numerous works with at once. What's more, for that the ability of performing multiple tasks is critical to gain as researcher. Since they need to do numerous works at once and their brains are constantly alarm. Any regular man can't be researcher; it is a scholarly action which requires sound learning and also understanding.


Works Cited:-
Altick, Richard, Fenstermaker. The Art of Literary Research. n.d.

Sunday 2 April 2017

Presentation 2017 - Paper 15 - Mass Communication and Media studies

Hello friends,
Here I am sharing my today’s presentation which I prepared as a part of my academic internal assessment.





PAPER 15- Mass Communication and Media Studies
TOPIC – Linguistic Analysis of Mass Media Platform: Advertisement




Linguistic analysis of Mass Media Platform: Advertisement from vaidehi Hariyani

CLICK HERE to evaluate my presentation.


Open for questions and suggestions. Give your feedback in the Comment section.

Saturday 1 April 2017

Presentation 2017 - Paper 14 - The African Literature

Hello friends,
Here I am sharing my today’s presentation which I prepared as a part of my academic internal assessment.




PAPER 14- THE AFRICAN LITERATURE
TOPIC – The Role of Memory in "A Grain of Wheat" and "The Sense of an Ending".



The role of memory in "A Grain of Wheat" and "The Sense of an Ending". from vaidehi Hariyani



CLICK HERE to evaluate my presentation.

Open for questions and suggestions. Give your feedback in the Comment section.

Friday 31 March 2017

Presentation 2017 - Paper 13 - The New Literature

Hello friends,
Here I am sharing my today’s presentation which I prepared as a part of my academic internal assessment.


PAPER 13- THE NEW LITERATURE
TOPIC – “Questioning Faith and Religion with reference to “The Da Vinci Code”, “Khuda Kay Liye” and “PK”.



Friday 17 March 2017

Assignment - Paper no.(15) Mass Media Studies - "Renaissance in Gujarati Cinema"

Name: Hariyani Vaidehi C.

Roll no- 18

Year - 2015-17

M.A Semester - 4

Paper no.(15) Mass Media Studies

Email Id: - vaidehi09hariyani@gmail.com

Unit - 3 Cinema
Assignment topic:
 Renaissance in Gujarati Cinema


Submitted to:
Smt.S.B.Gardi
DEPARTMENT OF ENGLISH,
MAHARAJA KRISHNAKUMARSINHJI  BHAVNAGAR UNIVERSITY,


Cinema plays a vital role in society. From young to old, from rich to poor, from rural to urban all the people love to watch movies. Cinema take us to places which may be we can never visit and inside the life of people somewhat different from ourselves. They offer us a space to see the wider world, lengthening our viewpoint and opening our eyes to new surprises.


The cinema of India has had a deep effect on Cinema across the world since the early 20th Century. It contains of films created in India, which includes the filmmaking cultures of different states like Marathi, Hindi, Assam, Gujarat and many.

In this assignment we will try to see the journey of Gujarati Cinema in detail.
The Gujarati Cinema (Dhollywood) has produced more than thousands of films from its beginning. The journey of this cinema started 84 years ago. 
Let’s have a look at the beginning of this Cinema.

Beginning:-

The film industry of Gujarat began in 1932. The first Gujarati Movie “Narsinh Mehta” was directed by Nanubhai Vakil. The film was matchless. Then came “Sati Savitri” based on the epic story of Savitri and Stayavan which was followed by “Ghar Jamai” by Homi Master.
Gujarati films thus proceeded with several other important social, political as well as religious issues. The years 1948, 1950, 1968, 1971 moved in a wide variety of dimensions. The Gujarati Movies such as “Kariyavar” by Chaturbhuj Doshi, “Vadilono Vank” by Ramchandra Thakur, “Gadano Bel” by Ratibhai Punatar and “Leeludi Dharti” brought immense success to industry. The problems of modernisation were the underlying concern of several films. Movies like “Gandano Bel” had strong realism and reformism.  “Bhavni Bhavai” (1980), directed by Ketan Mehta, was produced by NFDC, the Sanchar Film Cooperative Society, and a district bank in Ahmedabad. Though the film was not a folk theatre form of Bhavai, it incorporated several elements of it.

As it is said that,
“Good time flies away quickly”

With the immense amount of success, Gujarati Cinema also had a period of decline.

Decline:-
The Gujarat Film Development Corporation (GFDC) established to promotion Gujarati films was closed in 1998. The quality of the films deteriorated due to the focus on improving the financial investments and profits as well as not acclimatizing to changing times, technology and demographics. Low budget films with bargained quality targeted rural audiences while urban audiences motivated to television and Bollywood films with quality content as they had a reasonable understanding of the Hindi language.
People started enjoying the Hindi films more over Gujarati films. It was a tough time for the Gujarati Cinema to survive.

Renaissance in Dhollywood:-


“If something good fades away, something better is on the way.”
There was an increase in the number of film productions after 2005 due to the tax exemption and the rise in demand for films in rural North Gujarat. The demand was fired by the working class population. The number of films produced per year was over sixty in 2009 and 2010. The number of films produced reached seventy-two in 2012, the most in the history of Gujarati cinema.

Time goes on and the things have changed now. Gujarati cinema has changed peoples’ attitude. People get fascinated by the enhancement of the Gujarati cinema in the film industry. Even the youngsters of Gujarat started watching Gujarati films.

Especially the rise of Gujarati Cinema after the films like “Bey Yaar” and “Better Half” is worth noting.

“Kevi Rite Jaish” (2012) and “Bey Yaar” (2014), both directed by Abhishek Jain, became commercially and critically successful drawing an urban audience.

“Kevi Rite Jaish” is a satire on the fascination and obsession of the Patels' - a Gujarati farmer community - immigration to the U.S. Over the last half century, thousands of Patels have travelled to the U.S.A and have come to control its motel industry.

“Bey Yaar” was the most celebrated film in whole film industry. 
Jay Vasavada called it, "Brilliant, Brave, Bright"

The film was screened at New York Indian Film Festival on 5 May 2015 and became the first ever Gujarati film to do so. This film almost broke the record of Gujarati Cinema.

“The Good Road” (2013), directed by Gyan Correa, earned the Best Gujarati film at the 60th National Film Awards and later became the first Gujarati film ever selected to represent India at the Oscars. The success of these urban films drew new actors, directors and producers to the Gujarati film industry which had been stunted for a long time. Digital technology and social media helped the film industry by expanding its reach. “Gujjubhai The Great” and “Chhello Divas” were commercially successful films of 2015. The box office collection of Gujarati films increased a lot.

“Chhello Divas” is a comedy Gujarati film written and directed by Krishnadev Yagnik. The film revolves around the lives of eight friends in the last year of college. This film was immensely popular among the young crowd. People watched this film over and over again.

“Carry On Kesar” is an Indian Gujarati social comedy film directed by Vipul Mehta. It is a socially relevant film that talks of a traditional elderly childless couple deciding to have a baby. Shyamji and Kesar Patel, a traditional Gujarati elderly childless couple live in a small town in Gujarat. A fashion designer based in Paris, Annie comes across Kesar’s artistic work and makes arrangement to learn the art from her. However, things don't go as planned and a twist of fate prompts Kesar to confront her past. The couple decides to have a child at an age where most couples are grandparents.
This film brings in the reality of our society. In Gujarat people are not that open to things like this. Such movie tries to bring some changes in the society.

The scripts and stories of the Gujarati films include relationship and family oriented subjects, as well as human aspirations and Indian family culture. There were a large number of films based on mythological narratives and folklore produced in the early years of Gujarti cinema. The life of popular saints and satis of Gujarat were made into films such as Narsinh Mehta and Gangasati. They were targeted at rural audiences familiar with the subjects. There were social films associated with family life and marriage such as Gunsundari and Kariyavar. Several Gujarati films were adapted from Gujarati novels such as Kashi no Dikro. There was spurt again in the 1970s for saint/sati films. In the early 2000s, films were targeted chiefly at rural audiences demanding local narratives with local linguistic style. Following 2005, urban subjects were introduced leading to a revival of Gujarati cinema. In recent times, films which are more relevant to audiences are being produced.

“Meghdhanushya” (2013) was the first Gujarati film focused on the LGBT community.Meghdhanushya” (2013) is the first movie to positively feature the gay community in Indian Gujarati cinema. It is directed by Dr K R Devmani and produced by Mahendra Bhai Patel, with narration by Manvendra Singh Gohil and Sylvester Merchant.
This film portrays how lesbians and gay men have a part in society, and shows their situations and conditions they experience. Not only the films but the quality of music is also increased much with the time.

Conclusion:-
Renaissance means revival or rebirth. We can see that this is renaissance period going on for Gujarati Cinema in India as well as worldwide. The new generation is going at the epoch of success. We hope that the dark ages never return in this field.

Reference:-
  • Wikipedia contributors. "Cinema." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 10 Dec. 2016. Web. 16 Mar. 2017.
  • Wikipedia contributors. "Cinema." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 10 Dec. 2016. Web. 16 Mar. 2017.
  • Class Notes