UC Press E-Books Collection, 1982-2004:
'via Blog this'
Sunday, October 16, 2011
Thursday, October 13, 2011
National Seminar New Media Technologies and Emerging Challenges in Communications.
The Catholic Bishops’ Conference of India (CBCI) Commission for Social Communications, New Delhi, in collaboration with the U.S. Consulate General in Kolkata, is organizing a national seminar for students of media departments and faculties of colleges and universities in India. The theme of the seminar is New Media Technologies and Emerging Challenges in Communications. The two-day seminar will be held on December 1-2 at the American Center, Kolkata. We invite each university and college to send a maximum of four students and one faculty member of the Department of Journalism/Mass Communication/Media Studies to participate in the seminar. While the participants have to bear the travel costs, the seminar costs- including food and accommodation during the seminar days will be taken care of by the organizers.
The Commission founded in 2009 a national network called Media Faculties Network (MFN). The network conducted a two-day national seminar in 2010 at Christ University,
The theme chosen for the 2011 National Seminar is - New Media Technologies and Emerging Challenges in Communications. The seminar aims at providing student delegates of media and their teacher representatives a platform to interact with each other and foster greater participatory learning and collaboration in academic field. Sub themes include:
• New Media Enhancing Participatory Democracy in India
• Mobile Phones Bridging Information Divide
• Internet as a tool for Empowerment
• Do we communicate better or worse in the age of New Media? A critique of media
• New Media as a tool of Empowerment for the Masses
• New Media and the Global Village, Global Citizenships
• Is new media a threat to traditional media: how to synergize?
• New Media and Gender Issues
• Convergence in Communication Technology and its Impact
Colleges and Universities are invited to send the names of a maximum of 4 students who would benefit by the seminar and are able to contribute to the deliberations. They may be accompanied by one faculty member. Student delegates would be offered useful information on opportunities of higher studies in media in the U.S., and an info-pack comprising useful materials on the theme of the seminar.
Colleges and institutes wishing to send student delegates may kindly register by completing the following form and send it to the address, mentioned in the attached registration form latest by October 31st.
With warm regards,
Sincerely,
George Plathottam sdb
Executive Secretary
CBCI Commission for Social Communications Director, American Center
CBCI Commission for Social Communications Director, American Center
Wednesday, October 12, 2011
BA V Semester Postcolonial Literatures Model Question Paper
Answer Any Five of the Following. (5x8=40)
1. Orientalism
2. Kipling as an Orientalist
3. Macaulay's views on Arabic and Sanskrit
langauges being taught in India
4. Fanon's views on the 'Native
intellectual'
5. Harlem
Renaissance
6. Wide Sargasso Sea as altering reading of Jane
Eyre
7. The significance of the Praise Singer
Answer Any Four of the Following. (4x15=60)
9. Delineate the shift from commonwealth
literature to postcolonial literature? Emphasise on the historical
circumstances that necessitated such a shift.
10. What are the criticisms of Orientalism?
If the criticisms are valid what is the relevance of Orientalism for you today?
Explain.
11. Explain the images, sounds and colors
used by Senghor in 'New York
12. Attempt a postcolonial gothic reading
of Wide Sargasso Sea.
13 Wole Soyinka utilises the conventions of
the ‘western’ tragedy in the play Death
and the King’s Horseman. He succeeds in refuting the ideology and the
aesthetic on which the ‘western’ conventions are based. Apply this statement to
discuss the structure of the play.
14. Which are
the 'many separate worlds' that Naipual talks about in his essay 'Reading
Tuesday, October 11, 2011
Sunday, October 09, 2011
Philosophy and Literature class notes - 1st Oct. 2011
Class notes for October
1, 2011 (Saturday)
Chapter 6, The Aesthetics
of Semiotics: Greimas, Eco, Barthes,
was read and discussed in class. There was a discussion on the semiotic
concepts of Greimas and Eco. The chapter
helped us to understand the ‘aesthetic heterogeneity
of semiotics’ and how Greimas develops a semiotic theory of the content
plane. Greimas’s structural semiotics
was discussed with the example of Oedipus Rex. The monosemic and polysemic nature
of texts were demonstrated through the structural relations in Oedipus Rex. Concepts of semantic isotopies, classemes, and sememes were discussed. The nuances
of academic writing were also discussed in class. The stress was on maintaining
a uniformity of style while writing.
citation
Pinto, Anil. Literature and Philosophy. Christ University. 1 Oct. 2011. Lecture.
Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.
Bijoy Philip V.G
(1134101)
Model questions for Philosophy and Literature course.
Chapter 1:Nomi
1) Explain the concepts 'expression plane' and 'content plane' with reference to the philosophies of Kant and Hegel.
2) What are the philosophical foundations of Kant and Hegel in literary theory?
3) Trace the development of philosophical thought in literary theory from Romanticism and Young Hegelianism to Nietzche.
Chapter 2- Fathima
1. How did the early literary foundations by Kant and Hegel paved the
way for New Criticism and Russian Formalism? Explain.
2.How does Russian Formalism dwell in between the philosophy of Kant
and Avant-Garde? Elaborate.
3.How Kant's'expression' is different from Croce's 'expression'?
Explain with suitable examples.
3. How the arguments of Czech structuralism are different from the arguments of New Criticism? Explain in the light of Kantian idea of aesthetic and Hege’s idea of concepts.
Sharon Abraham : chapter 5
1) Explain the concepts 'expression plane' and 'content plane' with reference to the philosophies of Kant and Hegel.
2) What are the philosophical foundations of Kant and Hegel in literary theory?
3) Trace the development of philosophical thought in literary theory from Romanticism and Young Hegelianism to Nietzche.
Chapter 2- Fathima
1. How did the early literary foundations by Kant and Hegel paved the
way for New Criticism and Russian Formalism? Explain.
2.How does Russian Formalism dwell in between the philosophy of Kant
and Avant-Garde? Elaborate.
3.How Kant's'expression' is different from Croce's 'expression'?
Explain with suitable examples.
(Chapter 3- Ipshita
1. Discuss
the arguments of Czech structuralism in the light of Mukarovsky and Jacobson.
2. Compare
and contrast the arguments of Czech structuralism and Avant Garde movement.3. How the arguments of Czech structuralism are different from the arguments of New Criticism? Explain in the light of Kantian idea of aesthetic and Hege’s idea of concepts.
Sharon Abraham : chapter 5
1) How does philosophy distinguish Marxism from critical theory?
2) Analyze the Hegelian philosophy that overlooked the 'magic aspect of language'?
3) Analyze Marxist aesthetics with reference to postmodernism ?
Gracy simon : Ch 6
1) How does Eco occupie intermediate position between Greimas and Barthes?
2) Explain the Greimas' literary and non literary text ?
3) Distinguish between Barthe's readable text from the writable text?
Dhanya G Nair : chapter 7
1) How do "iterability" and "dissemination" work in Derrida's analysis?
2) How does Hartman, through his explicit critique of Hegelian classicism opposes a Romantic and Nietzschean idea of the text?
3)
"Nietzsche's theory of language eliminates the metaphysical conceptual
dimension which Plato, Aristotle, Descartes, Hegels and Kant's
philosophy thrive on." Discuss
Chapter - 8- Suschismitha
1. compare and contrast Lyotard's notion of the sublime and Kant's notion of the beautuful.
2. Discuss how LYotard uses Kant's notion of the sublime to develop an aesthetic of contradiction.
3. Discuss Lyotard's aesthetic of the sublime.
Chapter -9 Vipin George
1. Explain the critical theory of literature that Zema proposes.
2. How does Zema try to reconcile the dichotomy between Kant's and Hegel's literary theories? explain.
3. Hos does Zema propose a permanent dialogue between particular and hetrogeneous theoretical positions theough his notions of literary theory?
Thursday, October 06, 2011
Literature and Philosophy class notes- 4th oct.2011
Today
the last chapter, “Towards a Critical Theory of Literature” from The
Philosophy of Modern Literary Theory by Peter Zima, was discussed in the
class. This chapter concludes with the ideology of Literature and Philosophy
and he conveys the concept of literariness; that every idea has a philosophical
background. In the poststructuralist view, it’s asking questions to its own
very foundation therefore it’s a theoretical improvement of questioning the
literary text. Through this chapter Zima suggests how to build up a new theory
and shows the dialectic between openness and closure, polysemy and monosemy;
and the relationship between expression plane and content plane. Research
therefore is primarily meant to build theory. It synthesises the literary
theory which aims at certain degree of universality that can be obtained by
permanent dialogue between heterogeneous and particular positions..
The objectives of a research is to build up
theory, by this, one may reject the existing theory, find gap in the existing
theory and propose a new theory. A good research, essentially be a construction
of literary text, with its multiple possibilities that distinguishes and analyses
to verify in what extent it is relevant.
Each literary theory comes out with its own ideology, constructed to convey its
truthful representation. In this process the reader has a multiple engagement,
he engages himself with the theoretical text very closely. So, for a scholar
any text is a material to analyse, justify, categories and find something new
Although
the book The Philosophy of Modern
Literary Theory began its chapters with Kantian concept; that one literary
text cannot anchor itself to other concept. But as per Jameson and Jacobson’s’
view that one can keep one’s own ideology and
stand on its own field, at the same time
it’s possible to appreciate the ideology of the others, so it’s moving
away from Kantian ideology. This sheds new light on the conceptuality of
literary structures that exists in literary texts with in particular
theoretical perspectives.
Then
we moved on to the topic of how to make the class room teaching and learning,
interesting and alive. In the class room,
discussions may be one of the solutions, where interactions, sharing ones ideas,
and asking questions. Thus every participant actively participates in the discussion and learns something new from the
work that is being read and the teacher would be totally engaged and alert in
the class.
Prepared
by Gracy SimonCitation
Pinto, Anil. Literature and Philosophy. Christ University. 4 Oct. 2011. Lecture.
Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.
Tuesday, October 04, 2011
Model Question Paper
Sir, Could you please upload a Model Question paper for Post Colonial Literature (similar to what you uploaded during last sem).
Thanking you,
Shruti Kedia
Thanking you,
Shruti Kedia
Ideas in Architecture Theory
Arbour: Research Initiatives in Architecture
will run the second cycle of its six-month seminar/teaching programme
Ideas in Architecture Theory
This programme aims at providing a set of ideas and methodological tools to approach a critical understanding of architecture. The field of architecture will be discussed not only within certain historical conditions, but also as perceived and discussed through the scope of its own practice, visual theory, cultural studies and philosophical locations. Architecture as it is constructed lives a material life, but by nature of its own existence is a field of experience, geography, identity, beauty, time, memory and certain other such concepts. At the same time architecture also struggles between object-hood and its anti-object nature. This introductory seminar will lay out the ground from which many questions could be generated, which could be tackled at various levels and with different intensities later on in the practice of an architectural professional, historian, thinker, critic, teacher or journalist, or for those who may be interested in the field of architecture through their own fields of interest and expertise.
The seminar is designed within 2 basic brackets – ‘Architecture History’ and ‘Approaches to Architecture’. ‘Architecture History’ does not deal with a chronology of architectural types, styles or samples, but basically discusses ideas related to architectural practice and thinking that have been closely related to particular historical conditions and/or events. On the other hand, ‘Approaches to Architecture’, as the name suggests, wishes to map a selection of methodologies that have been employed to understand, critique, analyze, and evaluate architecture. From looking at ideas in Visual Studies and the role of criticism, to questions of Colonialism and Modernism, to reading texts by the likes of Kracauer and Lefebvre, and dealing with topics like Body & Space, Memory & Dwelling, Representation & Voice to also hearing architects discuss architectural projects, the course will structure a range of issues and ideas in a cohesive format. The aim is to finally contextualize the debates and concerns in architectural practice in contemporary India, while being conscious of how international and global exchanges have always been a part of any field, and understanding that ideas in the world of theory often assume an all-pervading image.
‘Writing’ will be an important component of the seminar programme.
The seminar programme is conducted through modules (4 sessions) around particular conceptual frameworks.
Schedules: The programme runs every Monday and Wednesday from 6:30 to 8:30 pm, starting 16 January, through 20 June, 2012 (about 23 weeks)
Resource Scholars: Scholars and practitioners from the world of Architecture, Art History, Theory and Criticism, Visual Studies, Cultural Studies, etc. will be teaching at the course; those involved with the seminar include Sen Kapadia, Venkatesh Rao, Mustansir Dalvi, Shimul Jhaveri-Kadri, Ranjit Hoskote, Nancy Adajania, George Jose, Shilpa Ranade, Rajiv Thakker, Abhay Sardesai, Sudhir Patwardhan, Shilpa & Pinkish Shah, Rahul Gore, Sonal Sancheti, Ainsley Lewis, Nuru Karim, Ashok Sukumaran, Suprio Bhatacharjee, Kaiwan Mehta and also some others.
Admission Eligibility: All graduates from Architecture or Art History can apply with their CV.
Graduates in subjects other than the two mentioned above can apply with their CV and a short interest-indication paper or a writing sample.
Students of 4th and 5th year Bachelor of Architecture course can apply with a CV and a writing sample.
An informal meeting with the director will take place before you enroll.
Number of student-participants: Maximum 15 nos.
Fees: INR 16,000/- (inclusive of basic reading material)
Sunday, October 02, 2011
Saturday, October 01, 2011
Philosophy and Literature notes- 30th sept 2011.
It was for the first time that any of us
attended an M.Phil defense and to say the least, we thoroughly enjoyed ourselves.
I think it would be an injustice not to mention that Sreyashi Dhar’s paper on
“Representation of Female Body in Select Films of Alfred Hitchcock and Basic Instinct 1 & 2” won accolades
from the external examiner who even mentioned that it was perhaps one of the
best defenses that he had attended thus far.
Sreyasi explored the diegetic gaze in
the movies of Hitchcock and in Basic
Instinct 1 & 2. While in Hitchcock the woman is “voiceless” and always
“victimized” and “objectified,” in Basic
Instinct, parts one and two, Sharon Stone shatters all these patriarchal
norms using her “body as a weapon” and an agent of empowerment. The graphic
inputs and the visual aids enhanced the audiences’ understanding of the key
elements of Sreyashi’s discussion—woman’s body in sexual terms, body element,
male gaze and voyeurism, sadism and fetishism. The theories and frameworks that
Sreyashi uses, and simultaneously refutes, while her argument progresses,
include Michel Foucault’s “theory of repression,” the psychoanalytic framework
used by Laura Mulvey, Lacan’s concept of the “mirror stage” and Freud’s
psychoanalytic theory.
Laura Mulvey in her essay writes, the
woman “stands in patriarchal culture as signifier for the male other, bound by
a symbolic order in which man can live out his phantasies and obsessions
through linguistic commands by imposing them in the silent image of woman still
tied to her place as bearer of meaning, not marker of meaning” (834). In the
section: Pleasure in Looking/Fascination with the Human Form, Mulvey explains
that one of the pleasures that cinema offers is “scophophilia,” where both
looking and being looked at become sources of pleasure, but later in the
section on “Woman as Image, Man as Bearer of the Look,” Mulvey seems to be
passing a judgment that Sreyashi contradicts through the portrayal of Sharon
Stone in Basic Instinct. Mulvey says:
“In a world ordered by sexual imbalance, pleasure in looking has been spilt
between active/male and passive/female. The determining male gaze projects its
phantasy on to female figure which is styled accordingly” (837). Sreyashi
counter-argues that Mulvey completely overlooks the idea of a “female gaze,” an
example of which is Sharon Stone’s seductive gaze in the movies in question. However,
the external examiner raised a pertinent question, saying Stone was merely
aping the male gaze, and arriving at a concept of “female gaze” was hurried,
but at the same time he acknowledged that the counterargument to Mulvey was
indeed a prospective contributory step in the realm of post-feminism, especially
the concept of the manipulation of the male gaze for the empowerment of the
objectified female on screen.
Sharon Stone’s explicit sexuality as
contrasted to Hitchcock’s representation of the body as sexual, completely, in Sreyashi’s
words, “shatters all norms of the repressive hypothesis” and the notion of “guilt”
that Michel Foucault talks about. What is the repressive theory? “Stated
broadly, the repressive hypothesis holds that through European history we have
moved from a period of relative openness about our bodies and our speech to an
ever increasing repression and hypocrisy” (Dreyfus and Rabinow 128). In the
blog, Foucauldian Reflections, Ali
Rizvi mentions that “the point of repressive hypothesis is to reject a simplistic
conception of power as domination and repression and consequently simplistic
conception of freedom as ‘exit’ and ‘way out.’” One of the insights that he
gives, and which becomes all the more relevant in the context of Sreyashi’s
argument is: “But these notions are dangerous in the context of the workings of
modern power, which does not work by ‘starving’ desire but prospers on
creating, inducing and multiplying and through ramification of desire”
(Foucauldian Reflections).
The
Defender’s Insights:
ü Mulvey
fails to talk about the female gaze
ü Mulvey
does not take into consideration the process empowerment of the one who is
objectified, through manipulation of the male gaze
ü There
is a complete breakdown of Michel Foucault’s repressive theory in the context
of Basic Instinct 1 and 2
ü Sharon
Stone’s representation is post-feminist
ü Sharon
Stone does not define or exemplify any gender stereotypes and archetypes
The
Expert’s Insights:
While it is definitely a refined and
progressive understanding of the male gaze, the inter and extra diegetic gazes
have been overlooked. Comment.
[Defense: Limitations of the scope of
the research]
We cannot yet theorize about a “female
gaze” but the insights on “gaze” are a definite contribution towards
post-feminist theories. Comment.
[Defense: Female informant reversing the
male gaze]
Does the research contribute to new ways
of looking at gender?
[Defense: She is neither the masculine
stereotype nor the feminine stereotype. Also, in the film she claims to be a
lesbian*]
*Sharon
Stone is also a self declared bisexual, and whether casting her in the role of
Catherine Tramell is deliberate or otherwise, is speculative, but this
definitely strengthens the argument with regard to the contribution of the
research towards redefining ways of looking at gender
Class-room Discussion:
The class-room discussion ensued with
individual reactions and observations pertaining to Sreyashi’s defense. The
contributions that the class made were:
ü We
cannot dismiss any cinema as being commercial
or use it in the derogatory sense. There is an excellent analysis of the
difference between art and commercial cinema in Art and Commercial cinema – The different shades by Sreesha
Belakvaadi, and I quote:
“Today, the idea of an
art movie is that – it is slow moving; but that is not genuinely true. This is
a gross misconception about art movies. The pace of a movie whether it is
slow-moving or fast-moving is fundamentally a subjective matter. When we say
slow, the question is : what is slow? Is it the story or the acting or the
script or the music or the camera movement; and if slow, it is slow relative to
what? And only such questions can throw some light here.
There is certainly a
difference between art and commercial movies; but is it not how the general
audience tries to infer the meaning. It has more than mere branding and
labeling movies. The idea to perceive a movie as art or commercial lies in the
“observation” of the beholder” (OurKarnataka).
Commercial to go by the
Online Dictionary of Etymology is an adjective that came into being in the
“1680s, ‘pertaining to trade,’ from commerce + -al”(Online Etymology
Dictionary). So anything that is shown to a larger audience and reaches the
theatre would then become commercial.
ü In
the context of discussing cinema we discussed Stuart Hall. Hall in his essay on
‘Encoding/Decoding’ proposed a model of mass communication which highlighted
the importance of active interpretation within relevant codes. The following
image explains the concepts of coding and encoding as understood by Hall (Semiotics
for Beginners).
To
understand Hall’s concept let us take an example: If X tells Y that the latter
has to make a movie for the Nazi’s that show the Jews as traitors, Y (as
director) would give it to Z (a script writer). So at the script writing level
some form of coding will occur and when the script is filmed, the director will
enforce his own set of codes, the actor his own, and finally the audience will
read it through a different coding system all together. Thus Hall’s argument
justifies that the audience also has an agency.
ü From
the idea of the audience as having agency, we moved to cinepolitics and
discussed Madhav Prasad who makes an interesting observation regarding South
Indian and North Indian stars; the former never presenting themselves as stars
off-screen but the latter live their image even off-screen.
ü This
difference necessitated a mention of S.V. Srinivas’ concept of mass
mobilization, especially through politics, where he shows that the South Indian
stars significantly abstain from such political mass mobilization strategies.
We finally returned to Zima and began
reading the 6th chapter. The two questions raised were:
§ Why are we constantly
returning to the question of meaning in literary texts, i.e. trying to reduce
it to concepts?
§ Why does Zima use
“remotely” in brackets when he says: “Eco’s idea for example, that the
aesthetic object imposes limits on conceptual knowledge is (remotely) Kantian?”
We also discussed how Terry Eagleton in
his essay does not delve into or trace the Prague structuralism, thereby
eliminating the concepts of literariness and
Greimas’ concept of identifying meaning in texts.
Citation
Belakavaadi, Sreesha. Art and Commercial
Cinema—The Different Shades. OurKarnataka.Com,
Inc. 1998. Web. 30 Sept. 2011.
Chandler, Daniel. Semiotics for
Beginners. Aberystwyth University. 19
Sept. 2001. Web. 30 Sept. 2011.
Dreyfus, Hubert l., and Paul Rabinow. Beyond Structuralism and Hermeneutics.
The University of Chicago: Britain, 1983: 128. PDF.
Harper, Douglas. Online Etymology Dictionary. 2001-2010. Web. 30 Sept. 2011.Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. PDF
Pinto, Anil. Literature and Philosophy. Christ University. 30 Sept.2011. Lecture.
Rizvi, Ali. “The Repressive Hypothesis.” Foucauldian Reflections. Blogspot.com, 16 Dec. 2004. Web. 30 Sept. 2011.
Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.
Prepared by: Suchismita Das
Philosophy and literature notes- 29th sept 2011.
The class discussed the third chapter of Peter Zima’s Literature and Philosophy. The chapter
mainly discusses about Czech Structuralism and their structuralist thinkers
Jakobson, Mukorovscky and that of Vodicka.
Czech structuralism is
mostly known as Prague structuralism. Prague criticism mainly emerged in Europe
and that the New criticism from that of United States of America. Saussure the
Swiss Linguist not only talks about sign but also talks about language having
two levels that of langue and parole. Langue is nothing but what we hear in
parole. It’s said that the manifestation of langue are endless that is idea is
possible but not language. Langue is a basic structure and that Prague
structuralists were not interested in content but structure. For them the whole
work of art, novel per say depends upon the structure and not the content.
Saussure died on 22 February 1913.
The Russian formalist
showed hardly any interest in the idea that the literary text is a sign which
permits communication between author and reader. The Prague structuralists on
the contrary were particularly interested in that notion. They conceived of
literature as a communication process as a continuation process, as a dialogue
between author and public. Mukarovsky’s way of thinking is that of a
semiotician. The textual sign maintains its independence with respect to the
communication process. The text is neither a direct expression of the authors
psyche nor can it be identified with its reflections in the readers psyche.
Moreover in spite of its central and independent position in the communication
process, the text loses its absolute character of a formal construction fixed
for ever.
In Linguistics and
Poetics, a well-known article by Jakobson, he distinguishes six functions of
language:
Ø The emotive function which is linked to the
sender or author of a message.
Ø The
connotative function that is the connotation which is related to the receiver
or listener.
Ø The
metalingual function that discusses about the language is geared towards the
code in question.
Ø The
phatic function which is oriented towards the contact medium.
Ø The
referential function which designates the context of communication
Ø The
poetic function which becomes an end in itself.
According to Mukarovsky
and Jakobson, a verbal message, produced, transmitted and perceived in the
process of communication, and embedded in its socio-cultural context, always
carries a dominating function and that the other functions may be present as accessory. The dynamic aspect of function,
pointing to the historicity, or socio historical embededness of verbal
messages, implies that one and the same text may acquire different, especially
the dominant functions at different times and in different cultures.
The conception of semantic
gesture expressed at once both the dynamic semantic unity and inner
differentiation and the human significance of the concrete work of art.
Philosophical angst is
different from that of normal day to day life “angst” (acute but nonspecific
sense of anxiety or remorse) that we discuss because philosophically this means
the dread caused by man’s awareness that his future is not determined but must
be freely chosen.
The class also
discussed and was enlightened about:
·
Knowledge system always links to the
political power. In 44 BCE that is Before Common Era, Romans became powerful
and continued to be powerful for several years. It was during this period that
they made roads to make trade easier. After this the scholarships from Rome
goes to Prussia and Prussia becomes the knowledge keeper but with the emergence
Renaissance this status of Prussia was moved to Europe.
·
Turkey, the then Istanbul
(Constantinople) was known as the first Islamic centre which was later moved to
Italy, this continued till the First World War. Islamic renaissance ends in the
9th century and that the in first university was established in Paris
in the 12th century followed by the second one in Belgium which was
known as the University of Nouvelle and finally it was in the 13th
century that University of Oxford and University of Cambridge was established.
·
First World War was mainly fought by the
kings; this was mainly the culmination point. It was in the year 1912 that the
people from different countries started getting passports which made trade and
travel easier, due to this the ideas and knowledge started moving from country
to country.
Prepared by
Dhanya G Nair
Works Cited:
Pinto, Anil. “Class on Anglo-American New
Criticism and Russian Formalism.” Christ
University. Bangalore
Zima, Peter V. The Philosophy of Modern Literary Theory. New Jersey
Press, 1999. Print.
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