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Subrat SaurabhAuthor of Kuch Woh PalAruna Bommareddi currently teaches at Indian Institute of Technology, Mandi, Himachal Pradesh. She taught at BITS-Pilani for seven years before she became a Fellow of Indian Institute of Advanced Study, Shimla for a period of two years.Read More...
Aruna Bommareddi currently teaches at Indian Institute of Technology, Mandi, Himachal Pradesh. She taught at BITS-Pilani for seven years before she became a Fellow of Indian Institute of Advanced Study, Shimla for a period of two years.
Read Less...Achievements
This was a world that experienced annihilation in a sense in the modern world. These places and people have never been part of any literature, anytime. But they were simply a happy people who lived well and lived long. This book, pays a tribute to these people and places. Since the book is written in English, children could use it as a text book to learn English. Because most of the narration has Telugu words, which are not translated into English, all T
This was a world that experienced annihilation in a sense in the modern world. These places and people have never been part of any literature, anytime. But they were simply a happy people who lived well and lived long. This book, pays a tribute to these people and places. Since the book is written in English, children could use it as a text book to learn English. Because most of the narration has Telugu words, which are not translated into English, all Telugu children should be able to read and understand it easily. Language is continuous as some children see it. For them it’s one language, and many words.
The anthology of writing Fingerprints of Creativity serves as an excellent manual for Creative Writing teachers and students across the country. This volume contains some of the best examples of writing that would be useful as practice exercises to students. In the midst of a bewildering range of books that pass off as text books of Creative Writing, this volume makes a subtle, yet strong point on how to go about teaching the course; it takes the approach to tea
The anthology of writing Fingerprints of Creativity serves as an excellent manual for Creative Writing teachers and students across the country. This volume contains some of the best examples of writing that would be useful as practice exercises to students. In the midst of a bewildering range of books that pass off as text books of Creative Writing, this volume makes a subtle, yet strong point on how to go about teaching the course; it takes the approach to teaching the course a notch higher. The dearth of material for teaching a tough course like Creative Writing, would be filled in with the availability of brilliant works like this. Some of the poems and short stories in this collection provide an insight not only into the talented young minds, but also into their profound experience of life.
In the current climate of increasing absence of resistance from within traditions as that of Hinduism, this book offers a fresh read for those who look for resisting narratives that break free from the fold of larger narratives. The ‘little narrative’ here is an oral epic of the Telugu peoples that itself has spawned a flowing tradition of its own, with several other written texts, performances, plays and songs, and even movies based on it. However
In the current climate of increasing absence of resistance from within traditions as that of Hinduism, this book offers a fresh read for those who look for resisting narratives that break free from the fold of larger narratives. The ‘little narrative’ here is an oral epic of the Telugu peoples that itself has spawned a flowing tradition of its own, with several other written texts, performances, plays and songs, and even movies based on it. However, what this book foregrounds is not the popularity of this Telugu oral epic tradition, but the problems involved when the oral tradition in all its variety of storytelling and performative renditions undergoes a cultural translation and appropriation by the dominant textual tradition. For instance, there have been attempts to bring all the different versions of the Palnātivīrula Katha under one textual rubric. This book, gently suggests that there must be a cultural politics at work behind such attempts and within the ambit of its five chapters and the attendant annexures, presents the oral epic narrative in all its multiplicities of story lines as also presentations. The larger effort here is to highlight the resistance offered by a people in terms of the creation and production of local narratives that have stood the test of time and, more importantly, the retrieval of the consciousness of a people by revisiting and foregrounding these creations. This book, as one turns its last page, certainly gets the reader in touch with a Telugu consciousness, for gaining a sense of which we need not search inside the books in a library but must restore to the people their oral stories and performances in all their varieties and contradictions.
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