struck a different note in poetry. The publication of Hughes’ first volume of poems The Hawk in the Rain in 1957 was a remarkable shift from the Movement. The poems in The Hawk in the Rain are marked by ruggedness and are full of romantic energy which the Movement rejected. A. Alvarez published an anthology called The New Poetry which had several poems by Ted Hughes. In the introduction to this anthology Alvarez indirectly attacked the polite urbanity of the Movement poetry: “Influenced profoundly by
Name- Chofia Basumatary Programme- MA English Assimilation of the Poetic Self with that of the City as seen in Osip Mandelstam’s works Osip Mandelstam is undeniably one of the most significant and noteworthy Russian poet of the twentieth century. Born in Warsaw, Poland in 1891 to a leather merchant, his family soon moved to St. Petersburg, Russia. Although he joined the prestigious Tenishev School and later the Sorbonne in Paris and the University of Heidelberg in Germany, but left studies in favor
woodlands and the mountain peaks and to examine this beauty in terms of spiritualism” Wordsworth’s inclination towards the spiritual aspect of nature is apparent and the divinization of nature that originated during Renaissance, culminates for English literature in Wordsworth. His love for nature can be described through various stages; 1. Wordsworth treated nature, first and foremost as a living, breathing entity and was of the opinion that there was a divine spirit and energy pervading all
recruitment in that, conferences and books are explicitly for the development and spread of ecofeminist thought. The message has spread . . . But, Ecofeminism has not resulted in collective action in a way Black Power as a philosophy did . . . Rhetorical analysis is the key to understanding phenomena like ecofeminism because their manifestation is rhetorical( Brammer 1-2). In phenomena like Ecofeminism ideology and meaning are more important than structure. People use new words or attribute new meaning to
key dimensions of the Palestinian novel. First, there is a beautification of the lost homeland of Palestine. Palestine is portrayed in literature as a paradise on earth. There is always a sense of nostalgia and belonging to the homeland. For example, the words of Mahmoud Darwish (1941-2008) express nostalgia for a past that every Palestinian has experienced. In the wake of the events that happened in 1948, Al-Nakbah emerged in Palestinian literature as a concept that signifies an unbridgeable break
knew how to read or write the Chinse characters, which made it challenging me for me to get into a good primary school, and eventually opted to send me back to India for my studies. I was unfamiliar with my native language and was only exposed to English. I had extremely tough time adjusting to the new environment at the age of 7 where I had to repeat my K3 just to learn my native language. My cousins teased me for being their junior (class wise) despite
Migration, with the shifting of cultural borders that it engenders, is a defining feature of the contemporary world. It has therefore appropriately become, in the words of Edward Said “a potent, even enriching, motif of modern culture” as the exile, conscious that homes are ephemeral, “cross borders, break barriers of thought and experience” (qtd. in Chambers 2). Salman Rushdie is also certain that migrancy is a dominant trope of our time. According to him, migrants are new categories of individuals:
Pakistani Bride’ is always on the plight of women. ‘The Pakistani Bride’ exposes the same fate of many brides whose stories remain unspoken; whose tears, the world can never see; whose sacrifices have never been admitted or admired. From this thorough analysis of the major themes of the novel, it is clear that the justification of the title ‘The Pakistani Bride’ is beyond question. It exactly antici-pates the themes Sidhwa has dealt with in this novel. The title of Bapsi Sidhwa’s third novel, ‘Ice-Candy-Man’