SL No.	name	Second	Third  four five
1	bhavyang	varun	dhru
2	bhavyank	ajay	praewa
3	divya	ku ar	jay

The Ecocritical concerns in the selected poems of Robert Frost

 

The Ecocritical concerns in the selected poems of Robert Frost

•  conclusion:- 

Ecocriticism is concerned with ecology. Ecology is the interdisciplinary study of plants and animals' interactions with one another and with their surroundings. Most of the time, people in modern civilization do not properly find the interdisciplinary relationship of plants and animals to each other and to their environment in town or city and only see buildings, factories, offices, residents, schools, colleges, and universities. Such interdisciplinary relationships are only found in rural areas. A reader gets the rural environment of New England, non-human nature, pastoral art, and a sense of consciousness about rapid deforestation for increasing food production, residents to the overgrowth people, from Robert Frost's poems.

Robert Frost is regarded as one of the twentieth century's most outstanding poets, not only in American literature but also in world literature. The theme of nature appears in the majority of his poems, which primarily describe New England rural pastoral scenery and wildlife. His poetry is infused with regional flavour and pastoral sentiment. Frost's creation is based on natural elements. His nature poems have simple language, wonderful artistic conception, and profound meanings. A critical reader will easily detect elements of rural environment and culture in his poems. These characteristics include a rural setting, non-human nature, pastoral art, and a sense of consciousness.

Most of Robert Frost's poems, particularly 'The Pasture,' 'The Ghost House,' 'The Road Not Taken,' 'Out Out,' 'Stopping by Woods on a Snowy Evening,' 'Mowing,' 'Reluctance,' 'The Death of the Hired Man,' 'After Apple-Picking,' and 'Mending Wall,' are related to the modern theory of ecocriticism. I can give him the label "Robert Frost is an Eco-critical poet" based on my own justification, which takes into account his thinking, ideas, imagery, writing styles, settings, and so on. Again, Robert Frost is a true realist. As natural tools, he employs rural environment and culture, traditional and natural elements, individual concepts of nature, common language, and natural magery. 

As components of eco-critical theory, all tools are included. Robert Frost is unquestionably an American eco-critical poet, based on his writing style, use of tools in his poems, and theme.

When considering Robert Frost's art, it could be argued that his ultimate and secondary concern is to encompass and integrate a balanced and harmonious relationship between man and nature. As a result, by incorporating an ecocritical perspective into his poetic output, he is able to revisit and revalue the significance of nature in the context of the present era. To gain environmental consciousness, the problems of rapidly changing global climate and the plight of animal communities necessitate a profound understanding and revaluation of Frost.

Nature and literature have always had a close relationship, as evidenced by the works of poets and other writers throughout the ages in nearly every culture on the planet. The intimate relationship between the natural and social worlds is now being studied and emphasised in all fields of knowledge and development. Eco-criticism is based on a long tradition of criticism that views nature as an aesthetic object rather than a scientific subject. For an eco-critic, the text becomes a place where various aspects of nature are dissected and analysed scientifically.

A text is merely a construct in which science is called upon to assess Nature's inherent beauty as well as utility. Robert Frost is one of nature's greatest poets, who adored and penned her colours with a powerful message. He was well-known for his tours as a charismatic public reader. His popularity is simple to explain: he wrote about traditional farm life, appealing to a longing for simpler times. His topics are universal.

To summarise, ecocriticism, as a distinct approach to literary criticism, pays increased attention to literary representatives of nature and is sensitive to interdependencies that ground the author, character, or work in the natural system. This method shifts the critical focus away from social relationships and toward natural relationships.

Robert Frost has expressed an interest in nature, culture, and landscape. He uses nature as an image he wants us to see or as a metaphor to which we can relate on a psychological level. Dark woods, a mix of fear and desire, represent man's great desire for knowledge of the unknown that awaits him.

 In his poems, he frequently emphasises the contrast between man and nature, as well as the conflicts that arise between the two entities. In his poetry, he recognised the harsh facts Are You Serious: of the natural world and saw these opposites as simply different aspects of reality.

Robert Frost was America's most popular poet and laureate in the twentieth century, and he wrote many poems throughout his life. Frost's poems contain philosophical references to the relationship between man and nature. Reading and reflecting on his poem from the perspectives of natural philosophy and ecocriticism has a significant impact on our modern lives. This paper focuses on Frost's poems from three perspectives: emphasising the intention, theme, and rhythm of the poems themselves; studying the internal language, structure, and function of the poems with the theoretical paradigms of British, American, new criticism, and Russian formalism; applying modernist literary theory research methods to Frost's poems; and taking the poems of different stages as the noumenon in Destiny.

The author examines relevant works, which can be divided into three types, by reading a large number of documents: 1. Analysis of specific poems' images, metaphors, and symbols, such as Wang Xingwei's comments on ambiguity in Robert Frost's poem Good Times; 2. From a philosophical standpoint in Robert Frost's poems, philosophical analysis is mostly made from the combination of specific texts of people, people and society, and people and nature, such as the study of philosophical characteristics of Frost's poems.

According to the research, most of them only pay attention to a single angle of study in literary works, such as theme, philosophical angle, or image, and so on, and the research on language or stylistics is even less, but the author believes that this research is not comprehensive. The author attempts to study Frost's poems from a systematic and comprehensive standpoint, and examines Frost's poems in his life from the perspectives of language, literature, and history, as well as philosophy.

It not only covers stylistics, images, metaphors, homophones, and rhythms at the linguistic level, but it also expounds the ecological view of harmonious coexistence between man and nature from the standpoint of ecological criticism with transcendentalism and pragmatism, arousing people's protection of the ecological environment and establishing people and nature in the form of literary poems. 

This is extremely important for people to better understand the social and spiritual values conveyed by poems written far from the crowd, to rethink human beings' place in nature and the environment, and to build a Community of Shared Future for Mankind Frost uses nature as an image he wants us to see or as a metaphor to which we can relate on a psychological level. Perhaps the most lucid interpretation of Frost's lyric is that, following Emerson's pattern of natural analogies, "things admit of being used as symbols because nature is a symbol, in the whole and in every part."

The dominant image of darkness recurs as a major theme in the majority of his poems. Dark woods, which combine fear and desire, represent man's great desire for knowledge of the unknown that awaits him. They do everything they can to entice him. Frost uses nature in his poem "Desert Places" to express the speaker's thoughts and feelings as he sits in his room looking out into a dark snowy night.

The last two lines of the poem formulate the entire poem's thesis, when the speaker knows that he is not afraid of the places outside but is afraid of his own empty lonely places in his mind, which causes distress in his life. The speaker is referring to his own mind as "home," which is far more dangerous than the woods or outer space. The poem "Stopping by Woods on a Snowy Evening" recreates a scene that is nearly identical to "Desert Places." The black trees entice and wowed the backpacker here. The horse in the poem is perplexed and wishes to continue.

Another traditional symbol used by Frost to depict his thoughts on the eternal is snow. All seasons, according to Frost, lead out of winter. Winter and its avalanche of white snow are essential to the poems' existence. It represents the paradoxical life-in-death without which spring will never awaken.

Frost, like any true environmentalist, reverses his position and celebrates water, the elixir of life. Frost, like Eliot, associates water with fertility and vigour. The stream is presented as an emblem in his "West Running Brook," in which a young couple recognises the running water as completing the triumvirate of their marriage.

Frost, while emphasising the inevitability of preserving nature for the sake of future generations, poignantly and vehemently explodes on man's depredations that degrade nature's sanctity. 

He demonstrates man's callousness by running roughshod over a brook's "immortal force" with his houses, curbs, and street, burying the brook "deep in a sewer dungeon." Frost discusses man's irresponsible play with bonfires, which is just as destructive as man's perversity in playing with gunfire. Frost depicts the ominous upheaval of the entire ecology caused by shells, whose poison spreads like a creeping fog over hill and pasture. 

Frost's interest in human relationships encompasses a wide range of complexities. In "The Fear" and "A Servant to Servants," psychological and sexual issues intertwine. Love encompasses all types of relationships, from the simple one between a man and a woman in "Meeting and Passing" to the complex one involving all of humanity in "Once by the Pacific." Frost has become a major poet of the twentieth century, a poet of man and nature, thanks to his craftsmanship and creative imagination. His primary concern has always been with man, followed by nature. If he appears to some to be a nature poet, it is only because he has generously glazed his poetry with nature to make an already glowing performance shine even brighter.

We cannot deny that, since the dawn of civilization, both women and nature have been essential components of any society or culture. The reason for this is that a woman is the pillar of a home because she is the creator of the hand that rocks the cradle and rules the human beings on earth; she also creates a family, and these families form the foundation of a nation. Nature, like woman, makes offerings to the "man-made society" and never asks for anything in return. In this way, we can say that, while women are undoubtedly the creators of nations, the role of Nature cannot be underestimated.

The reason for this is that, since a child's birth, it is both mother and nature who polish a person's personality mother as a social teacher and nature as a moral one. As a result, their importance cannot be overstated. Despite this, they have both been marginalised since ancient times. Women and Nature have always been regarded as property by the so-called patriarchal society. The male-dominated society views women and nature as subservient creatures created by God for their benefit.

However, one must remember that these two inseparable parts of our society, which are considered inferior in the eyes of patriarchal society, are the wheels on which this earth depends because women physically give birth to men in this world and Nature controls that existence throughout our lives because we rely on Nature for food, air, and other life-giving objects. In fact, the same patriarchal society never gave women the opportunity to stand shoulder to shoulder with men. It is one of the most basic facts that we have reached the Moon and Mars in this modern era and are still progressing day by day. 

Robert Frost's poetry attempts to contribute to the efforts of Ecofeminists who came before them. He is concerned with rural life, and Nature is always present as a backdrop. Frost's best poetry depicts man's interactions with nature. His attitude toward Nature is one of armed and amicable truce and mutual respect, interspersed with boundary crossings between the two primary forces of the world and the individual.

However, if we delve deeply into his poems, we discover that nature is a replica of women, and by dictating man's dreadful activities towards Nature, Frost attempts to bring to light the all-pervading lamentable condition of women. In the same way that patriarchal society is deaf to women's sighs and tries to crush them with all of its might, when Nature expresses her outrage towards men due to their interference with the natural surroundings in the form of snowfalls, storms, glacier melting, and other natural disasters, humans try to overpower them by cutting down trees because they believe that both women and Nature exist solely to serve men.

In addition, Frost's poetry depicts the aftermath of man's overindulgence in Nature's deeds in the form of draughts, battles over public land use, protests over nuclear waste dumps, and many other things that makeFinally, we must state that Frost's plea for women is unmistakably linked to ecofeminism theory. It should be noted here that, in the opinion of ecofeminists, patriarchal society oppresses both women and nature. Nature, too, is viewed as Mother Nature, whose sole purpose is to reproduce and provide services to a male-dominated society. Men do not value the services of women or nature. Men, in fact, benefit from the labour of women and nature.

 our lives inhospitable to live. However, it is a well-known fact that there are layers of meaning wrapped in a single word in Frost's poetry. Frost's depiction of nature's exploitation is reminiscent of women's plight.

However, we cannot ignore the fact that without the contribution of women in domestic affairs, such as food preparation, child nutrition, and proper care of the elderly and sick, as well as the contribution of Nature, such as providing us with fresh air, fruits to eat, trees for shade, and water, our lives would be unimaginable as these factors create a healthy society; Nature, too, shares an inseparable bond with human beings as our lives would be unimaginable in I.which changed our traditional concept of emphasising human beings as masters of nature in the past, and established a new model of the relationship between man and nature, which coincides with the realistic embodiment of Frost's view of nature in our poems, and has the consistency beyond time and space In his poem "Repairing the Wall," we can see the heart wall between people, which can further the relationship between people, people and society, foreign culture and Chinese culture.

It necessitates that we promote interpersonal communication and understanding, exchange and learn from each other's cultures, and create a new era of Community of Shared Future for Mankind. His research content is metaphorical analysis and intentional schema of poetry, and he employs Lakoff and Johnson's metaphorical theory. Second, two metaphorical perspectives of "plant-human" and "animal-human" were established from the standpoint of literary history.

Frost's research is primarily focused on literary history, based on external research. Paul Mandoon believes that his poetry has become part of a larger network that extends beyond the framework of characters and poetry itself, and that text reading requires a specific context.

Simultaneously, this paper examines the philosophical relationship between man and nature in Frost's poems through the lens of ecological civilization in a new era. In Frost's poems, man and nature are inextricably linked, and his poems are rich in philosophical wisdom. This is yet another implication of rereading Frost's civilised ecological view in the twenty-first century in the context of ecological environment crisis, global warming, sea level rise, and animal and plant extinction. Frost proposed three philosophical relationships in his poems in A Study on the Philosophical Characteristics of Frost's Poetry.

The environment has posed a significant threat to human culture as well as the mother earth. The widespread abuse of distinguishing assets has left us on the verge of extinction. The rainforests are being cut down, petroleum derivatives are rapidly depleting, the seasonal cycle is being disrupted, natural ecological disasters are becoming more common around the world, and our environment is on the verge of collapse. Under the circumstances, another hypothesis of perusing nature composing emerged amid the most recent decade of the previous century called Eco-criticism. It is a global upward expansion that emerged as a response to man's human-centric state of mind of ruling nature.

The purpose of this paper is to shed light on and investigate eco-critical viewpoints as depicted in some selected world literature as well as Indian writing in English. This naturally arranged investigation of writing realises a biological proficiency among the readers, who as a result move toward becoming consIt is an interpretive instrument for studying nature that is commonly associated with environmental criticism, animal studies, deep ecology, and ecofeminism.cious, taking great consideration of Mother Nature. One of the major concerns of the day is the natural concern. Eco-criticism has progressed quickly in the short time since the presentation.

Eco-criticism is a broad route for literary and social researchers to investigate the global natural disaster through the intersection of writing, culture, and the physical environment. It is one of the most recent revisionist developments to sweep through the humanities in recent decades. The modern world is confronted with ecological disasters, and our current state is in jeopardy. Currently, science and innovation are insufficient to combat the global ecological disaster.

We should work on improving our attitude toward nature. Literature does not float above life, so it has a mission to fulfil. For a long time, nature was not given due consideration by scholarly commentators, so ecologically organised literature argues for a better understanding of nature in its greater vastness. During the last few decades, ecocriticism has grown into a global movement. Eco-criticism or environmental criticism is a term used to describe literature and environmental studies.

The analogy to the more general term scholarly feedback-involves a diverse, pluriform, and cross-disciplinary activity that expects to investigate the ecological dimensions of literature and other imaginative media in a soul of ecological concern that is not constrained to any one technique or responsibility. Eco-criticism begins with the conviction that expressions of the human experience of creative energy, and the examination thereof- by prudence of their grasp of the intensity of word, storey, and picture to strengthen, excite, and coordinate ecological concern- can contribute fundamentally to the understanding of natural issues or environmental problems. The three notable American writers whose works praise nature as a genuine existence drive and the wild as depicted in America provide the impetus for eco-criticism. R.W. Emerson, Margaret Fuller, and Henry David Thoreau are their names. They were a part of the visionaries, a group of New England writers, poets, essayists, and philosophers who were the first major abstract development in America to achieve'social freedom' from European models. In his first intelligent prose narrative Nature, R. W. Emerson revelled in the impact of nature.

The works of three notable American writers who praise nature as a genuine existence drive and the wild as depicted in America provide impetus for eco-criticism. Their names are R.W. Emerson, Margaret Fuller, and Henry David Thoreau. They were among the visionaries, a group of New England writers, poets, essayists, and philosophers who pioneered the first major abstract development in America to achieve "social freedom" from European models. R. W. Emerson revelled in the impact of nature in his first intelligent prose narrative Nature.

As a result, Eco-criticism emerged as a written development within writing studies in the mid-1990s, a significant age later than the primary such developments within the ecological humanities. Its growth has been rapid, to the point where, in less than two decades, it has expanded beyond its original Anglo-American base and now boasts about six insightful diaries in Europe, North America, and Asia.

However, eco-criticism remains in a state of unfolding rather than combination. In light of the current natural disasters all over the world, it has shifted its shading from local to global perspectives. People have only one earth to live on, and we are on the verge of being demolished unless we keep an eye on the blue planet. If we want to hear the earth's melody, we must immediately change our humancentric perspective. There are numerous environmental points of view in world literature.

Condition, as an inseparable component of human culture, takes precedence in all major sanctioned works. A natural understanding may lead to a few new perspectives. Indian philosophy and writing are not an exception to this rule. From antiquity to the digital age, Indian writing has been flooded with environmental concern.

They persuade us to consider how we can live a happy life in harmony with nature. These ecological literary works flawlessly manage the key note of eco-writing, human instinct relationship and interconnection. The basic message is to preserve nature in all of her glory; let us not destroy what we cannot create. The more environmentally conscious works will be exhibited in the centre.

Assignment :- Research Methodology

 Q-1.)What is Plagiarism and what are its consequences?

Ans:-

Introduction:-

You have probably read or heard about charges of plagiarism in disputes in the publishing and recording industries. You may also have had classroom discussions about student plagiarism in particular and academic dishonesty in general. Many schools have developed guidelines or procedures regarding plagiarism. Honor codes and other means to promote academic integrity are also common. This section describes ethical considerations in research writing and can help you avoid plagiarism and other unethical acts.

Plagiarism and its Consequences:- 

Plagiarism is a crime because it is considered theft- theft of ideas or theft of text. Using someone’s hard work and dedication, and passing the work as your own is what constitutes plagiarism. Unethical use of others’ work makes plagiarism a serious crime and hence is seriously condemned in every industry.

In India, plagiarism evolves mainly because of unawareness. People often plagiarise, sometimes deliberately and many times unknowingly. Many people don’t know what plagiarism is and how bad the consequences may be. For example, using an image found on the internet and not citing it also constitutes plagiarism. This simple usage of images is often ignored while writing text. This unawareness regarding plagiarism leads to unfair practices. Students generally don’t know how to use resources available and how to use them.

Plagiarism is quite common in schools but it is seldom identified and punished. Copying homework seems to be an easy way out for many students. This practice, when not caught and checked, seems to inculcate in them a habit to plagiarise. Continuing this habit, in colleges and other institutions, a student copies ideas from a research paper or a book, or copies assignments from other students. In college, assignment copying is one of the most common plagiarism seen. This attitude of attaining easy solutions makes the student lazy and careless. This way, the student does the job without enhancing his/her knowledge. Plagiarism, when identified, can lead to suspension and even expulsion in many cases and thus 

should not be taken lightly by students.

2.1. DEFINITION OF PLAGIARISM

Derived from the Latin word plagiarise, to plagiarize means "to commit literary theft" and to "present as new and original an idea or product derived from an existing source" (Merriam-Webster's Collegiate Dictionary. Plagiarism involves two kinds of wrongs. Using another person's ideas, information, or expressions without acknowledging that person's work constitutes intellectual theft. Passing off another person's ideas, information, or expressions as your own to get a better grade or gain some other advantage constitutes fraud. Plagiarism is sometimes a moral and ethical offense rather than a legal one since some instances of plagiarism fall outside the scope of copyright infringement, a legal offense.

2.2. CONSEQUENCES OF PLAGIARISM

A complex society that depends on well-informed citizens strives to maintain high standards of quality and reliability for documents that are publicly circulated and used in government, business, industry, the professions, higher education, and the media. Because research has the power to affect opinions and actions, responsible writers compose their work with great care. They specify when they refer to another author's ideas, facts, and words, whether they want to agree with, object to, or analyze the source. This kind of documentation not only recognizes the work writers do; it also tends to discourage the circulation of error, by inviting readers to determine for themselves whether a reference to another text presents a reasonable account of what that text says. 

The charge of plagiarism is a serious one for all writers. Plagiarists are often seen as incompetent-incapable in developing and expressing their own thoughts-or, worse, dishonest, willing to deceive others for personal gain. When professional writers, such as journalists, are exposed as plagiarists, they are likely to lose their jobs, and they are certain to suffer public embarrassment and loss of prestige. Almost always, the course of a writer's career is permanently affected by a single act of plagiarism. The serious consequences of plagiarism reflect the value the public places on trustworthy information.

Students exposed as plagiarists may suffer severe penalties ranging from failure in the assignment or in the course to expulsion from school. This is because student plagiarism does considerable harm. For one thing, it damages teachers' relationships with students, turning teachers into detectives instead of mentors and fostering suspicion instead of trust. By undermining institutional standards for assigning grades and awarding degrees, student plagiarism also becomes a matter of significance to the public. When graduates' skills and knowledge fail to match their grades, an institution's reputation is damaged. For example, no one would choose to be treated by a physician who obtained a medical degree by fraud. Finally, students who plagiarize harm themselves. They lose an important opportunity to learn how to write a research paper. Knowing how to collect and analyze information and reshape it in essay form is essential to academic success. This knowledge is also required in a wide range of careers in law, journalism, engineering, public policy, teaching, business, government, and not-for-profit organizations.

2.3. INFORMATION SHARING TODAY

Innumerable documents on a host of subjects are posted on the Web apparently for the purpose of being shared. The availability of research materials and the ease of transmitting, modifying, and using them have influenced the culture of the Internet, where the free exchange of information is ideal. In this sea of materials, some students may question the need to acknowledge the authorship of individual documents. Professional writers, however, have no doubt about the matter. They recognize the importance of documentation whether they base their research on print or electronic publications. And so they continue to cite their sources and to mark the passages they quote.

New technologies have made information easier to locate and obtain, but research projects only begin with identifying and collecting source material. The essential intellectual tasks of a research project have not changed. These tasks call for a student to understand the published facts, ideas, and insights about a subject and to integrate them with the student's own views on the topic. To achieve this goal, student writers must rigorously distinguish between what they borrow and what they create.

As information sharing has become easier, so has plagiarism. For instance, on the Internet it is possible to buy and download completed research papers. . Some students are misinformed about buying research papers, on the Internet or on campus. They believe that if they buy a paper, it belongs to them, and therefore they can use the ideas, facts, sentences, and paragraphs in it, free from any worry about plagiarism. Buying a paper, however, is the same as buying a book or a magazine. You own the physical copy of the book or magazine, which you may keep in your bookcase, give to a friend, or sell. And you may use whatever you learn from reading it in your own writing. But you are never free from the obligation to let your readers know the source of the ideas, facts, words, or sentences you borrow. Public cations are a special kind of property.

2.4. UNINTENTIONAL PLAGIARISM

The purpose of a research paper is to synthesize previous research and scholarship with your ideas on the subject. Therefore, you should feel free to use other persons' words, facts, and thoughts in your research paper, but the material you borrow must not be presented as if it were your own creation. When you write your research paper, remember that you must document everything that you borrow-not only direct quotations and paraphrases but also information and ideas.

Often plagiarism in student writing is unintentional, as when an elementary school pupil, is assigned to do a report on a certain topic, copies down, word for word, everything on the subject in an encyclo pedia. Unfortunately, some students continue to take this approach in high school and even in college, not realizing that it constitutes plagiarism. To guard against the possibility of unintentional plagiarism during research and writing, keep careful notes that always distinguish among three types of material: your ideas, your summaries and paraphrases of others' ideas and facts, and the exact wording you copy from sources. Plagiarism sometimes happens because researchers do not keep precise records of their reading, and by the time they return to their notes, they have forgotten whether their summaries and paraphrases contain quoted material that is poorly marked or unmarked. Presenting an author's exact wording without marking it as a quotation is plagiarism, even if you cite the source. For this reason, recording only quotations is the most reliable method of note-taking in substantial research projects, especially for beginning students. It is the surest way, when you work with notes, to avoid unintentional plagiarism. Similar problems can occur in notes kept electronically. When you copy and paste passages, make sure that you add quotation marks around them.

Another kind of unintentional plagiarism happens when students write research papers in a second language. In an effort to avoid grammatical errors, they may copy the structure of an author's sentences. When replicating grammatical patterns, they sometimes inadvertently plagiarize the author's ideas, information, words, and expressions.

2.5. FORMS OF PLAGIARISM

The most blatant form of plagiarism is to obtain and submit as your own a paper written by someone else. Other, less conspicuous forms of plagiarism include the failure to give appropriate acknowledgment when repeating or paraphrasing another's wording, when taking a particularly apt phrase, and when paraphrasing another's an argument or presenting another's line of thinking.

2.6. WHEN DOCUMENTATION IS NOT NEEDED

In addition to documenting direct quotations and paraphrases, you should consider the status of the information and ideas you glean from sources in relation to your audience and to the scholarly consensus on your topic. In general, information and ideas you deem broadly known by your readers and widely accepted by scholars, such as the basic biography of an author or the dates of a historical event, can be used without documentation. But where readers are likely to seek more guidance or where the facts are insignificant dispute among scholars, documentation is needed; you could attribute a disputed fact to the source with which you agree or could document the entire controversy. While direct quotations and paraphrases are always documented, scholars seldom document proverbs, sayings, and clichés. If you have any doubt about whether you are committing plagiarism, cite your source or sources.

2.7. RELATED ISSUES

Other issues related to plagiarism and academic integrity include reusing a research paper, collaborative work, research on human subjects, and copyright infringement.

2.7.1. Reusing a Research Paper

If you must complete a research project to earn a grade in a course, handing in a paper you already earned credit for in another course is deceitful. Moreover, you lose the opportunity to improve your knowledge and skills. If you want to rework a paper that you prepared for another course, ask your current instructor for permission to do so. If you wish to draw on or reuse portions of your previous writing in a new paper, ask your instructor for guidance.

2.7.2. Collaborative Work

An example of collaborative work is a group project you carry out with other students. Joint participation in research and writing is common and, in fact, encouraged in many courses and in many professions. It does not constitute plagiarism provided that credit is given for all contributions. One way to give credit, if roles were clearly demarcated or were unequal, is to state exactly who did what. Another way, especially if roles and contributions were merged and shared, is to acknowledge all concerned equally. Ask your instructor for advice if you are not certain how to acknowledge collaboration.

2.7.3. Research on Human Subjects

Many academic institutions have policies governing research on human subjects. Examples of research involving human subjects include clinical trials of a drug or personal interviews for a psychological study. Institutions usually require that researchers obtain the informed consent of human subjects for such projects. Although research for a paper in high school or college rarely involves human subjects, ask your instructor about your institution's policy if yours does.

2.7.4. Copyright Infringement

Whereas summaries, paraphrases, and brief quotations in research papers are normally permissible with appropriate acknowledgment, reproducing and distributing an entire copyrighted work or significant portions of it without obtaining permission to do so from the copyright holder is an infringement of copyright law and a legal offense, even if the violator acknowledges the source. This is true for works in all media. For a detailed discussion of copyright and other legal issues related to publishing.

work cited:-

Gibaldi, Joseph. MLA Handbook For Writers Of Research Papers (Large Print). Modern Language Association Of America, 2009.

Kalani, Vaibhav, and Ashok Twinwal. Cse.Iitd.Ac.In, 2013, https://www.cse.iitd.ac.in/~sumantra/courses/btech_project/plagiarism.pdf. Accessed 18 Mar 2022.

Assignment :- Comparative and translation studies

 Q-1 Write your comments on G N Devy’s essay ‘Translation Theory from an Indian Perspective’.

Ans:-

Introduction:-

‘Translation is the wandering existence of a text in a perpetual exile,’ says J. Hillis Miller. The statement obviously alludes to the Christian myth of the Fall, exile, and wandering. In Western metaphysics translation is an exile, a fall from the origin; and the mythical exile is a metaphoric translation, a post-Babel crisis."Western literary criticism provides for the guilt of translations for coming into being after the original; the temporal sequentiality is held as proof of diminution of literary authenticity of translations. It is of course natural for the monolingual European cultures to be acutely conscious of the act of translation. The philosophy of individualism and the metaphysics of guilt, however, render European literary historiography capable of grasping the origins of literary traditions.

‘Translation Theory from an Indian Perspective’:-

One of the most revolutionary events in the history of the English style has been the authorized translation of the Bible. It was also the literary expression of Protestant Christianity. The recovery of the original spirit of Christianity was thus sought by Protestant England through an act of translation. It is well known that Chaucer was translating the style of Boccacio into English when he created his Canterbury Tales. During the last two centuries, the role of translation in communicating literary movements across linguistic borders has become very important. The tradition that has given us writers like Shaw, Yeats, Joyce, Beckett, and Heaney in a single century the tradition of Anglo-Irish literature – branched out of the practice of translating Irish works into English initiated by Macpherson towards the end of the eighteenth century.

Considering the fact that most literary traditions originate in translation and gain substance through repeated acts of translation, it would be useful for a theory of literary history if a supporting theory of literary translation were available. However, since translations are popularly perceived as unoriginal, not much thought has been devoted to the aesthetics of translation. Most of the primary issues relating to ‘form’ and ‘meaning’ have not been settled in relation to translation. No critic has taken any well-defined position about the exact placement of translations in literary history.

Roman Jakobson in his essay on the linguistics of translation proposed a threefold classification of translations:

 (a) those from one verbal order to another verbal order within the same language system,

 (b) those from one language system to another language system, and

 (c) those from a verbal order to another system of signs

Historical linguistics has some useful premises in this regard. In order to explain the linguistic change, historical linguistics employs the concept of semantic differentiation as well as that of phonetic glides. While the linguistic changes within a single language occur more predominantly due to semantic differentiation, they also show marked phonetic glides. However, the degree of such glides is more pronounced when a new language comes into existence. In other words, whereas linguistic changes within a single language are predominantly of a semantic nature, the linguistic differences between two closely related languages are predominantly phonetic Technically speaking, then, if synonymy within one language is a near impossibility, it is not so when we consider two related languages together.

Structural linguistics considers language as a system of signs, arbitrarily developed, that tries to cover the entire range of significance available to the culture of that language. The signs do not mean anything by or in themselves; they acquire significance by virtue of their relation to the entire system to which they belong. This theory naturally looks askance at a translation which is an attempt to rescue/ abstract significance from one system of signs and towed it with another such system. But language is an open system. It keeps admitting new signs as well as new significance in its fold. It is also open in the socio-linguistic sense that it allows an individual speaker or writer to use as much of it as he can or likes to do.

In most Third World countries, where a dominating colonial language has acquired a privileged place, such communities do exist. In India, several languages are simultaneously used by language communities as if these languages formed a continuous spectrum of signs and significance. The use of two or more different languages in translation activity cannot be understood properly through studies of foreign-language acquisition. Such theories work around the premise that there inevitably is a chronological gap and an order or a priority of scale in language-learning situations.

J.C. Catford presents a comprehensive statement of theoretical formulation about the linguistics of translation in A Linguistic Theory of Translation, in which he seeks to isolate various linguistic levels of translation. His basic premise is that since translation is a linguistic act any theory of translation must emerge from linguistics: ‘Translation is an operation performed on languages: a process of substituting a text in one language for a text in another; clearly, then, any theory of translation must draw upon a theory of language – a general linguistic theory’

Durkheim and Lévi-Strauss. During the nineteenth century, Europe had distributed various fields of humanistic knowledge into a threefold hierarchy: comparative studies for Europe, Orientalism for the Orient, and anthropology for the rest of the world. In its various phases of development, modern Western linguistics has connections with all these. After the ‘discovery of Sanskrit by Sir William Jones, historical linguistics in Europe depended heavily on Orientalism. For a long time, afterward, linguistics followed the path of comparative philology.

Saussure and Lévi-Strauss, linguistics started treating language with an anthropological curiosity. When linguistics branched off to its monolingual structuralist path, comparative literature still persisted in its faith in the translatability of literary texts. Comparative literature implies that between two related languages there are areas of significance that are shared, just as there may be areas of significance that can never be shared. Translation can be seen as an attempt to bring a given language system in its entirety as close as possible to the areas of significance that it shares with another given language or language. All translations operate within this shared area of significance.

The problems in translation study are, therefore, very much like those in literary history. They are the problems of the relationship between origins and sequentiality. And as in translation study so in literary history, the problem of origin has not been tackled satisfactorily. The point that needs to be made is that probably the question of origins of literary traditions will have to be viewed differently by literary communities with ‘translating consciousness’.

We began our discussion by alluding to the Christian metaphysics that conditions the reception of translation in the Western world.  

Translation and Indian Literature: Some Reflections 

Moments of significant change in the history and civilization of any people can be seen to be characterized by increased activity in the field of translation. The European Renaissance was made possible through the massive translation by Arab Muslims from the work of the Hellenic tradition. In the case of India, though there is no consensus about the originary moment of the Indian Renaissance – whether there was an Indian Renaissance at all in the European sense, and if there was one, whether it happened simultaneously in different languages and literature of India or at different times, there is no disagreement about the fact that there was a kind of general awakening throughout India in the nineteenth century and that was made possible through the extensive translation of European and mainly English works in different languages, not only of literature but also of social sciences, philosophy, ethics, and morality, etc. Translation has a special meaning for the people of north-east India because, in some literature of the northeast, the original moment of literature is the moment of translation too. For example, in the case of Mizo, it did not have a script before the European missionaries devised a script to translate evangelical literature into Mizo. Raymond Schwab (1984) in his book, The Oriental Renaissance, has shown how a new kind of awareness took place and curiosity about the Orient aroused in the West through the translation of Persian texts from Sadi, Rumi, Omar Khayyam, and others on the one hand, and Vedic and Sanskrit texts from India on the other.

Translation into English sometimes acts as an instrument of empowerment of the marginalized sections of society – Dalits,  tribals, women -- giving writers who deal with the struggle of the 

disenfranchised in society greater visibility and creating solidarities across the multi-lingual and multi-cultural Indian society. Foremost among such writers in India is, of course, Mahasweta Devi, who has been well-served by her translators in English. But there are others who have been writing with consistency and commitment for several decades but were not known outside their linguistic borders because of the paucity of translations.

conclusion:-

Indian metaphysics believes in an unhindered migration of the soul from one body to another. Repeated birth is the very substance of all animate creations. When the soul passes from one body to another, it does not lose any of its essential significance. Indian philosophies of the relationship between form and essence, structure and significance are guided by this metaphysics. The soul, or significance, is not subject to the laws of temporality; and therefore significance, even literary significance, is ahistorical in Indian view. Elements of plot, stories, characters, can be used again and again by new generations of writers because Indian literary theory does not lay undue emphasis on originality. If originality were made a criterion of literary excellence, a majority of Indian classics would fail the test. The true test is the writer’s capacity to transform, to translate, to restate, to revitalize the original. And in that sense, Indian literary traditions are essentially traditions of translation.

Work cited:-

Asaduddin, M. "Translation And Indian Literature: Translation And Indian Literature: Some Reflections". Ntm.Org.In, https://www.ntm.org.in/download/ttvol/volume3/ARTICLES/01%20-%20Translation%20and%20Indian%20Literature%20-%20%20Some%20Reflections%20-%20M.%20Asaduddin.pdf. Accessed 18 Mar 2022.

Catford, J. C. A Linguistic Theory of Translation: An Essay in Applied Linguistics. Oxford University Press, 1965.

Devy, Ganesh . "“Translation and literary history: An Indian view”." Post-colonial Translation: Theory and Practice 42.2 (2002): 395-406. web. 18 March 2022.

 

Assignment :- Contemporary Literature

Q-1  Explain the title of the novel ‘The Ministry of Utmost Happiness’. ?

Ans:-

Introduction:- 

Arundhati Roy, a much sought-after Indian English writer keeps her readers glued to her works not because of the fulminations but also because of her capability to capture the complexity of human relationships in the flux of time. Like other contemporary novelists, she too calls her works fiction but they transcend what humans face every day though they pass unnoticed. Roy's keen sense of observation and her grasp over psychological underpinnings and her incisive eye arrests the undercurrents camouflaged under the quotidian human life that remains oblivious to numerous crushed desires trampled under the heavy feet of globalization responding to time and space making all the difference. The present paper endeavors to explore the complexity of human relationships that not only binds man to man but also distance him from his fellow humans. Human life is not as easy as it appears and the demands of every age prompt us to make various compromises despite the fact that 'its humdrum surface conceals at its heart a yolk of egregious violence' sparked by political pundits weaving different patterns of meaning in the ever-changing world order. We are reminded of what Shakespeare says, "The web of our life is of a mingled yarn, good and ill together: our virtues would be proud if our faults whipped them not, and our crimes would despair if they were not cherished by our virtues."

Arundhati Roy:-

Arundhati Roy was born on November 24, 1961, in Shillong Meghalaya, in Bengal, North Eastern India. Her father was a Hindu tea planter, and her mother was a Christian teacher and social activist. Roy began her education at “Corpus Christi,” a school founded by her mother in AymaNam, India. This school was very informal. As a result, Roy developed a way of thinking and writing that differed from those educated at more formal schools. In other words, Roy learned to think for herself. From the beginning of her education, Roy wanted to be a writer. It was her childhood dream.

She demonstrated her independence at the early age of sixteen, leaving her home to live on her own in a small hut with a tin roof. She survived for seven years by selling empty beer bottles for income. She observed the effects of Christianity, Marxism, Hinduism, and Islam in India, which shaped her attitudes and beliefs. Eventually, she grew tired of this poverty-stricken life and decided to enter the Delhi School of Architecture. There, she met her first husband, Gerard Da Cunha. While they were married the couple decided to put their degrees aside and do something simple. The two embarked to Goa on the coast of India where they made and sold cakes to tourists for seven months. But Arundhati lost interest in this lifestyle, ending their marriage within four years.

Roy found a job with the National Institute of Urban Affairs where she met her future husband commuting on a bicycle, a film director Pradeep Krishen. At the beginning of their relationship, Arundhati received a scholarship to study the restoration of monuments in Italy. She began to realize her unique writing abilities in Italy. Upon her return to India, Roy teamed up with her husband to write a screenplay for a television series. Unfortunately, the idea failed, but she continued to write more screenplays that resulted in several films including In Which Annie Gives It Those Ones and Electric Moon.

Beginning with her critique of the film Bandit Queen, which turned into a lawsuit, her work has been controversial from the start. Following the lawsuit, she began to concentrate on her writing. Eventually, this practice became The God of Small Things. This novel proved to be a success as it was published in nineteen countries and sixteen languages. She was compared to Charles Dickens and William Faulkner for the way she deals with the issues of race, class, and society. She was the first Indian writer to receive the Booker Prize, which is the most prestigious literary award in England.

Roy learned to live and think independently from her experiences. She is determined to do and say what she wants, even if her opinion goes against the social norm. To this day, she continues to voice her opinion as a social activist, writing about current events in essay form. Roy is known for her anti-war activist opinions, and she expresses them bravely in her numerous published works and speeches.

ArundhatiRoy'slatest's novel Ministry of Utmost Happiness(2017)is intricately woven into a web of various characters, who strive and suffer because of their individual choices differentiating them into two groups. The first group of characters belongs to hermaphrodite and creates their own world through their passion for music and live life in their own ways. Another group of characters though not suffering from sexual anomaly also finds themselves misfit in the real world because of myriad problems. Roy's array of multiple characters in this novel doesn't reflect her ideological differences against the so-called idea of oneness, which according to her, is the enemy of this novel. In defense of her second novel, The Ministry of Utmost Happiness, she says:

Itis a story that emerges out of an ocean of languages, in which a teeming ecosystem of living creatures

official –language fish, unofficial –dialect mollusks, and flashing shoals of word fish—swim around, some friendly with each other, some openly hostile, and some outright carnivorous. But they are all nourished by what the ocean provides. And all of them, like the people in the Ministry, have no choice but to co-exist, to survive, and to try to understand each other.

Roy's rebellious views may prompt over-enthusiastic readers and critics to put her works into ideological straitjacket exploding anti-establishment views. But such a notion belittles the stature of Roy's realism. The depiction of caste that distances the true merit of individuals merely on the basis of color and class consciousness in her debut novel The God of Small Things itself contradicts as she vehemently opposes the Communist government in the said work. Roy is not a slave to any ideology despite vestiges of various transgressions in her work. While Velutha, transgresses the boundary much as other characters, his party men too transgress the limits of propriety and pooh-pooh the established norms and party ideology while destroying the caravan. Neither the policemen nor comrade Pillai relents while Velutha is smashed and his jaws and bones are broken beyond repair. Roy seems best at portraying the social change that prompts the marginalized to break the love laws and face the consequences. 

The novel under discussion got published after two decades and the veteran writer continued her craft of writing grounded in problems and issues affecting ordinary human lives. We have come a long way and several significant developments have emerged worldwide. But Roy's question remains the same. She carves stories out of several issues that appear less literary.

The Ministry of Utmost Happiness where the narrative flows quite lucidly as everyday and commonplace language. The novel in question, if compared with the first novel appears to disappoint ardent readers of Roy. But as a writer of exemplary mettle, she succeeds in weaving the fragmented yarns comprising fact and fiction with equanimity. The Ministry reminds readers not only of the fulminations of another contemporary Indian novelist Aravind Adiga but also takes us back to the one-time champion of the deprived, Mulk RajAnand. It's not unfair to record that both  Adiga and Arundhati are the extended selves of Anand. These writers seem not to sell their soul to  Mephistopheles but create fiction out of their crusade with the oddities of society with changing times. It is this aspect of realism that surfaces repeatedly inArundhatiRoy'sliterary forte.

Since every writer depicts the age he/she lives in,Arundhati Roy too, is not an exception. But in doing so, she does not sacrifice her dharma of a writer's vision. She is aware of the socio-cultural changes taking place from time to time. Her reactions and rebellious views remind us of a celebrated English poet and critic Matthew Arnold who in his famous essay on “Culture and Anarchy” had described the present state as 'an upper class materialized, middles class vulgarized and lower class brutalized'(Arnold). Arnold had advocated that culture should conceive of true human perfection as a harmonious perfection that could develop all sides of our humanity as well as all sides of our society. Roy, like Arnold, reiterates that the excessive materiality and emergence of individuality could not civilize society. Roy's dig on Capitalism apart from other things can also be heard in Aravind Adiga, who inThe WhiteTiger and Last Man in the tower fictionalizes his protest against the capitalistic forces that alienate humans from each other. Balram Halwai in The White Tiger resorts to violence and later establishes his entrepreneurial venture just to avenge his master's cruelties. Likewise, Yogesh Murthy in Last Man in Tower wages a war to claim his space and right in a capitalistic and consumerist world though he is eliminated by the builders. The act of both the heroes appear rebellious but are not devoid of their growing epistemic strength.

Roy's The Ministry depicts various threads of protests manifested through a web of characters. The story begins with the travails of Anjum alias Aftab, the son of Jahanara and Mulaqat Ali, who fail to hide their son's unusual characteristics. Aftab's mother persuades him to undergo surgery but the son rebels and insists on living amid Hizras 'with painted nails and a wrist full of bangles'  and longs to lift his salwar just a little 'to show off his silver anklets'. As luck would have it, Aftab becomes Anjum a famous Hizra, and a disciple of Ustad Kulsoom Bi of the Delhi Gharana, and later participate in different political activities that upset the entire nation from time to time. Having spent several years with fellow Hizras, Anjum feels disillusioned with the state of affairs at Khwabgah. She yearns to live life like an ordinary person who could send her child off to school with her books and tiffin box. A new ray of hope suddenly emerged one day Jama Masjid where she found an unclaimed and abandoned child whom she decided to adopt and explore some joys in rearing the three-year-old infant. Anjum named her Zainab and proffered all her love to her. The child also responded to the affection of Anjum and started calling the former her mummy and other inmates as auntie. The novelist describes this new fond bond in the following lines: “The mouse absorbed love like sand absorbs the sea.

Besides Anjum other members of the Khwabgah also yearned for viable relationships to carve their identities. In this regard, Zainab provided floodgates of filial emotion in Anjum and bred jealousy in Saeeda who also wanted to possess the growing child. Having smelt ofSaeeda's longings, Anjum got cautious and blamed the former for any untoward incident, if any, in the case of Zainab. Calling her illness a result of Saeeda's black magic, she undertook a pilgrimage to Ajmer Sharif to avert all evils befalling Zainab. Anjum's absence provide Saeed enough opportunities to snuggle with Zainab and substitute Anjum's motherly care and concern to the extent that the child started callingSaeeda her mummy.

Roy as a keen observer of human nature delineates the fact that happiness is completely a feeling of internal realization. While the inmates of the Khwabgah pretended to be happy, they faked happiness. This feigned happiness seemed to offer a sort of retreat to the dreariness and debauchery present in the real world. The novelist makes Khwabgah a mouthpiece to express her angst about the horrendous realities of the real world. The ordinary people albeit surrounded by external problems, the inmates of the Khwabgah face the same internally.

The problems of hermaphrodite outnumber the problems of the common people as they undergo conflicts externally while the former suffers battles of all kinds internally. Khwabgah represents the microcosm of the civilized and normal human world which to the novelist is the macrocosm. Roy, like a neutral observer, expresses the anguish of inmates' identity and also unveils its connections with royal pride. Ustad Kulsoom Bi seems to safeguard the decline of the decreasing regal pride that provided many ancient rulers the safe passage to their tangled relationships.

Kulsoom Bi vouched for the historical significance of the Khwabgah though she cautioned her people against the crumbling of its tradition. She reiterates that such a system still existed and it was not to be written off. The novelist rightly mentions: “What mattered was that it existed. To be present in history even as nothing more than a chuckle, was a universe away from being absent from it, from being written out of it altogether. A chuckle, after all, would become a foothold in the sheer wall of the future”

Human relationships in the novel gain new meanings shrouded in many mysteries not only of the inmates of Khwabgah but also of four university days' friends who in search of their vocation finally separate and rejuvenate at intervals but in different avatars. Their relationships formulate during the rehearsal of a drama but take different shapes because of the volatile political conditions. These relationships are founded on love-hate syndrome spread by a handful of people bent upon creating splits in society just forsome political advantage. Names act as referents to certain faiths and animals become the symbols to ignite racial discrimination. Many characters in the novel change their names justto protectthemselvesfrom the relentless mobocracy, which seemsto have lost all rationale. Roy, a realist, very subtly delineates the merciless murders of innocents in mob frenzy based on baseless allegations. Anjum, a Muslim by caste is shuddered to hear the miserable plight of Dayachand alias Saddam Hussain who had adopted this name simply because of his so-called bravery or butchery against a throng of his avengers. Dayachand had closely watched the brutal murder of his father in the name of cow-slaughter simply because he couldn't bribe the policeman, Sehrawat. It is quite paradoxical that both Dayachand and Sehrawat belong to the same Hindu community which reveres the cow as mother. Roy as a creative writer wants to awaken the sleeping and misguided mankind from the slumber that has sealed their conscience. Her metaphoric ire against the deep-rooted malaise keeps surfacing in the novel to show her authorial intent.

Roy creates stories within a story rooted in a sort of disenchantment with the prevailing order that destabilizes the harmony of fellow beings. What makes the novel exemplary is the novelist's technique of weaving and connecting all other stories into a united structure. The novel apart from depicting the tangled web of human relationships also hints at the split between two communities. This is much in contrast with the inmates of Khwabgah which albeit comprises mostly Muslims yet welcomes people of other communities having different faiths. References to the conflicts between two communities also get mentioned from time to time. The external forces, too, are found taking disadvantage of the splits between two faiths: “The poet-prime minister of the country and several of his senior ministers were members of an old organization that believed India was essentially a Hindu nation and that, just as Pakistan had declared itself the Islamic Republic, India should declare itself a Hindu one”. The lines in context are a dig at the Indian maxim of Vasudhaib Kutumbakam, i.e the entire world is one family. This gets shaken because of the divisive politics of our so-called representatives who perturb the peace of millions of people just to gain access to the corridors of power.

It's quite ironic to note that despite the change of guards at the center nothing changes as such. One community or the other becomes a victim of the years of rebellion simmering in the minds of people. The killing of Mrs. Indira Gandhi, the riot in Gujarat, The Kashmir problem are some such issues that require due attention. But the craze for power keeps the majority of political parties agog with dilly-dallying, sometimes deviating the common masses in the glitter-glitter of globalization and yet at other times soothing their bruises in the name of sympathy. This prompts many idealists to undertake fast unto death, protesting against parochialism on the one hand and red-tapism, on the other. The real issues most often are relegated to the margins.

The novelist is not oblivious to the fact of various relationships which fade because of the political instability. The government policies seem to favor the elite masses and show disregard to the common masses. People in power most often get shielded at the cost of the cold-blooded murder of innocents merely because of the fault of a handful of people or their faith. The craze for a consumerist culture pushes the nativity ode into oblivion and the sprawling cities give everyone the illusion of a shining country where pedestrians find little space either to relax or to revive their lost energies. In such a situation people like Dr.Azad Bhartiya, a triple M.A in Hindi, Urdu, and History undertakes a strike for eleven years. But ironically, this person is kept under surveillance mostly. He has become a crusader and is ostracized by everyone yet what he says has ample substance: “Capitalism is like poisoned honey. People swarm to it like bees. I don't go to it. For this reason, I have been put under twenty-four hours' surveillance. I am under twenty-four hours' remote control electronic surveillance by the American government”

The novel also unfolds the tangled web of Tilo's life which is full of mystery. A foster child of a Christian mother, Tilottama, one of Delhi University's Architecture students gets attracted towards Musa though they take to their professions and get separated. This provides Biplab the chance to try his luck. Attracted initially by Tilo's charm, he is at war with himself thinking what disarmed him towards Tilo and says: “It's hard for me to describe someone who has been imprinted on me, on my souls, like a stamp or a seal of some sort for so many years. I see her as I see a limb of mine –a hand, or afoot. But Tilo negates the question of marriage with anybody and hence this charm comes to an end. Biplab, alias Garson, gets disappointed and his infatuation for Tilo also comes to an end.

Tilo, on the other hand, kept herself tied constantly to Musa and later married him. Musa's yearning for Kashmir's freedom takes him to the disturbing valley where he stealthily starts a family but loses his wife and daughter in police firing. He goes into hiding yet continues to be associated with Tilo. Soon, people come to know about his death. It is later revealed that Musa had a dubious identity and he created the fake news of his death. The insurgency in Kashmir effects and distances them yet they maintain a secret bond. Tilo is trapped in Kashmir but because of Naga, she is rescued in Delhi where she marries him.

Roy as a novelist is not confined merely to literary creativity. As discussed earlier, her first novel The God of Small Things also is not devoid of her political activism. This is amply justified in her later writings grounded more in her poetics of protest than of sheer literary leanings. It is pertinent to quote an observation of Geoffrey Ken, who in his article “Tuning (In or Out) the Big Voice of Arundhati Roy following the God of small things,” .

Roy's persistent general focus has been and remains the exercise of power; within this domain, her attention has passed through several phases from conflict between state or national government agencies and local within India to Indian development of nuclear weapons and Indo-Pak conflicts to the United' response to 9/11, and most recently to theWar onTerrorwhatshe regards as the militaristic Establishment of the American Empire.

Tilo's marriage with Naga, the son of Ambassador Hariharan, and their luxurious life loses its sheen shortly. Out of exhaustion, Tilo leaves Naga as the former wanted 'an insular independence'. She was tired of 'living a life that wasn't really hers at an address she oughtn't to be at'. While Naga wanted to shine as a 'celebrity', Tilo wanted to sink into oblivion. When Naga was packing Tilo's things to be put into a carton, he was wonderstruck by Mariam Ipe's medical reports that disclosed the mother-daughter relationship. He later comes to discover that Tilo's individuality and her unusual quirkiness were the results of her mother's influence on her. He failed to notice that distance from her mother had an adverse effect on Tilo but Naga's realization was too late. The lack of companionship not only forced her to live in a rented house but also to kidnap an unclaimed child at Jantar Mantar. But this also didn't last long as the police started searching for the kidnapper and the suspicion lay on Tilo. The mother of the unclaimed child had reported to the police who suspected Tilo's whereabouts. Tilo was forced to seek shelterin Jannat Guest House established byAnjumand others.

What tangles human relations further in the novel is the mystery behind the kidnapped child later named MissJebeen, the second. The real mother of the child, Revathy sends a letter to Dr.Azad stating her miserable plight and the loathing relationship with the child. She admits with disdain that the child was illegally begotten because the latter was conceived after her rape by police forces. Revathy had joined the Communist party just to avenge her father's atrocities on her mother. But because of her rebellious ways, she was arrested by several policemen who had raped her one after another. She got conceived and gave birth to the accursed child in the forest. She detested the child and named her Udaya, who according to her, had river as mother and forest as a father. The desertion of the child at Jantar Mantar was the result both of Revathy's hatred of her and also of the hope that some good soul would take care of the child.

Friendship and love as the foundations of every human relationship seem to fritter away because of everyone's professional exigency. In this regard Tilo of the Delhi University friends' group keeps all of them tied to one another because of her mysterious charm in mysterious ways. She initially attracts Garson alias Biplab and Naga but these male members though not truly friends, maintain a sort of adversarial relationship. The competing forces of friendship and love distance them both personally and professionally making them rivals to each other. Musa's untimelyexitfromTilo'slife allows Nagy to show advances to her and later their marriage brings some fresh showers though short-lived. While Garson seethes in his lost longings for Tilo, his marriage with Chitra also suffers a breakdown even after so many years. His desertion by his wife and daughters allows some room for his unfulfilled romantic leanings towards Tilo. Years after he derives a faint satisfaction in renting out his apartment to Tilo, the woman who in his 'weak, wavering way', he 'will never stop loving.

Tilo finally seeks refuge in Jannat Guest House where she finds peace in the company of Anjum,  Saddam, Zainab, and Saeeda who are also living borrowed lives. Musa comes out of his hiding in search of Tilo who had preserved his recoveries safely. He finally unites with Tilo and also makes peace with Biplab alias Garson. Biplab also realizes the futility of all his years working in the Bureau as an intelligence officer bent upon toeing the right course of action though in the wrong manner just for a little patch of land. His disillusionment with the state of affairs in Kashmir gives an eye-opener to Whatman has made of man.

The natural urge of humans to transgress the sacrosanct boundaries charted out in past hangs like an Albatross around our necks though we may boast of living in a globalized world. It goes without saying that Indian masses have demystified inter-racial marriages, live-in-relationships, and other issues of sexuality once considered illicit. The depiction of such themes and their deliberations in academia are no more considered profane. Hence, it is the guts, grit, and gumption of Arundhati Roy, who as a writer of realist fiction, doesn't dodge her responsibility but instead reiterates her vision and imagination of tomorrow.

HETEROTOPIC SPACES AS THE SPACE OF THE ‘OTHER’ IN ARUNDHATI ROY’S THE 

MINISTRY OF UTMOST HAPPINESS

Conclusion:-

Thus, Arundhati Roy's novel The Ministry of Utmost Happiness weaves a story that depicts the gaps and ruptures but finally untangles the web of human relationships by reuniting the characters, who despite various grievances against one another make peace. There are some characters who change their names and identities but finally re-surface and reassess themselves for bringing harmony. In this regard, Anjum is overjoyed to see her adopted daughter Zainab tying the knot with Saddam who gets blessed to pay the last rites to his father murdered in cold blood. Musa gets united with Tilo while Biplab mends his fences with Musa. Biplab's idea of starting a music channel with Naga emerges out of his will to harmonize everyone lost on the sands of time. The shattered story of the novel gets dovetailed with the unifying forces of love.

Arundhati Roy thus employs the heterotopias of deviation to console and settle the traumatic psyche of her gendered subalterns. Heterotopia is a widely accepted concept in literature. Heterotopic spaces in the literature provide the author ample space to settle the traumatized psyche of the protagonists. The graveyard and Khwabagh provide Anjum a place to discover her ‘self’. She likes deep-rooted tree that shelters the human and non-human species. Heterotopic spaces redefine their roles and status. They no longer belong to the state of ‘other’ that the patriarchal society has doomed them. These spaces help them to segregate and build their own world against the hegemonic societal norms.

Work cited:-

Joseph, Sherine Allena, and Dr. Ann Thomas. "ISSN 2395-2636 (Print) | Research Journal Of English Language And Literature | The ISSN Portal". Portal.Issn.Org, 2020, https://portal.issn.org/resource/ISSN/2395-2636. Accessed 17 Mar 2022.

Mishra, Binod. "Arundhati Roy's The Ministry of Utmost Happiness: Exploring Human Relationships through Changing Socio-Cultural Lens." Researchgate (2020). web. 18 March 2022. <https://www.researchgate.net/publication/338502746_Arundhati_Roy's_The_Ministry_of_Utmost_Happiness_Exploring_Human_Relationships_through_Changing_Socio-Cultural_Lens>. 

Roy, Arundhati. "Arundhati Roy". Conservancy.Umn.Edu, 2009, https://conservancy.umn.edu/bitstream/handle/11299/166316/Roy,%20Arundhati.pdf?sequence=1. Accessed 18 Mar 2022.