Poetry as Protest: Group Reflections on Eklavyam and The Laughing Buddha

This blog is assigned by Prakruti Bhatt Ma'am as part of a group discussion and reflective activity. In group discussion We were assigned two poems: “Eklavyam” by Meena Kandasamy and “Laughing Buddha” by Pravin Gadhvi. As a group, we divided the poems and related reflection questions equally.

Recitation of the poem Eklavyam 

Step 1: Based on the poem assigned to your group, discuss the thematic and critical aspects, and prepare one long and one short answer from the question bank.

Long questions 

1)

Disscus the poem "Eklavyam" by Meena Kandasamy.

Meena Kandasamy’s poem Eklavyam is not just a modern retelling of a myth it's a bold political satire, a caste-conscious protest, and a philosophical statement on resistance. By drawing from the story of Ekalavya in the Mahabharata, she attacks Brahminical supremacy, exposes institutional fascism, and suggests an alternate route of revolutionary defiance.

🔹 Understanding the Symbols in the Poem

Eklavyam: Represents all the marginalized  Dalits, tribals, the voiceless who are denied access to power and knowledge.

Dronacharya: Symbolizes Brahminical authority, caste privilege, and educational exclusion  a gatekeeper of systemic inequality.

The Thumb: A metaphor for forced obedience and intellectual disarmament of the oppressed.

Trigger/Bomb: Represents political rebellion  a shift from silence to action when denied justice.

🔹 Key Ideas and Political Undertones

1. Fascism vs. Communism

The poem subtly places Dronacharya as a symbol of fascism  a rigid figure enforcing upper-caste dominance. In contrast, Ekalavya’s revolt (pulling a trigger/hurling a bomb) hints at a Communist-style rebellion, where the oppressed seize power through radical means. Kandasamy critiques how fascist systems destroy talent, while also suggesting radical resistance as an answer.

2. Critique of Brahminical Caste Hierarchy

Dronacharya’s demand of the thumb is not about tradition or respect   it’s about controlling who gets to be powerful. Kandasamy sharply condemns this centuries-old exclusionary practice where Dalits and Adivasis are taught to accept oppression as fate.

3. Non-Dualism and Resistance

Traditional Hindu philosophy teaches non-dualism (Advaita)  the idea that all are equal in essence. But Kandasamy exposes how real-life practice contradicts this belief. The caste system stands in direct opposition to spiritual equality, and the poem becomes a critique of this hypocrisy in religious values.

4. Satirical Resistance

Lines like:

"You don’t need your right thumb / To pull a trigger or hurl a bomb"

are deeply ironic. Kandasamy turns the act of silencing into a call to rebellion. It mocks how the powerful try to disable potential, and in turn, warns them   resistance doesn't need permission.

2)

Explain the significance of laughing in the poem The laughing budhha by Pravin gadhavi

In The Laughing Buddha, Pravin Gadhavi uses laughter as a complex symbol it is not just joy, but also sarcasm, irony, pain, and protest. The laughter of the Buddha in the poem is not innocent or blissful, but rather layered with historical, political, and emotional meaning.

🔹 1. Laughter as Irony: A Symbol of Peace Laughing Amid Violence

One of the most striking ironies in the poem is the choice of Buddha’s birthday for conducting the Pokhran nuclear test in India (Pokhran-II, May 11, 1998). Gautam Buddha is globally revered as a symbol of peace, non-violence, and enlightenment and yet, the nation chose this very day to test weapons of mass destruction.

This contrast between peace and war is not lost on the poet.

The Buddha laughs but not out of joy.

His laughter is a sarcastic commentary on how the world, especially political systems, manipulate symbols of peace while preparing for destruction.

🔹 2. Historical and Economic Context: Laughter as Bitterness

As you rightly observed, Krupali, the economic condition of the country at the time was not strong. India was going through economic strain, with poverty, inequality, and unemployment still persistent issues. Yet, crores of rupees were spent on a nuclear test, claiming it was for national pride and defense.

 In this context, the Laughing Buddha becomes a witness of contradiction

laughing through tears, mocking the misplaced priorities of the state.

🔹 3. Buddha’s Laugh: A Satirical Mirror to Society

Buddha’s laughter is also satirical as if he’s asking:

• "What are you celebrating?"
• "What kind of progress is this?"
• "Has the world misunderstood my teachings so deeply?"

The poem forces us to reflect:

While the statue of Buddha is smiling, the message of Buddha is crying.

The laughter here is a metaphor for the absurdity of how we twist moral and spiritual teachings to justify our political actions.

🔹 4. Emotional Layers: Laughter with Tears

The poet describes the Buddha as laughing with tears a powerful image that reveals:

A deep sadness hidden behind a smile

A mocking acceptance of how far humans have drifted from peace

A symbol of suppressed emotion, where even a god-like figure has nothing left but to laugh at the irony of the world

🔹 5. The Statue Speaks: Symbolism of the Laughing Buddha

In popular culture, Laughing Buddha is seen as a figure of good luck, wealth, and happiness. But Pravin Gadhavi flips this meaning:

• The statue doesn’t bless anyone
• It judges silently
• It watches the contradictions of the modern world, standing as a silent rebel

 Conclusion:

 Laughter as a Political and Philosophical Protest

In The Laughing Buddha, laughter is not simple or sweet it is sarcastic, bitter, thoughtful, and haunting. The poem uses Buddha’s smile to challenge nationalism, political propaganda, historical irony, and spiritual betrayal.

By presenting a Buddha who laughs with tears, Pravin Gadhavi forces us to think:

Is our progress really worth celebrating, if it comes at the cost of peace, values, and truth?

Short Questions 

Write a note on use of myth in Meena Kandasamy's poem

Meena Kandasamy powerfully uses myth in her poem Eklavyam by retelling the story of Ekalavya, a character from the Mahabharata. But she doesn’t tell it like a traditional myth  instead, she gives it a modern, political, and rebellious voice.

1. Myth Reimagined

In the Mahabharata, Ekalavya is a tribal boy who learns archery on his own and offers his thumb as guru dakshina to Dronacharya.

Traditionally, the story teaches about obedience and sacrifice, but Kandasamy retells it as a story of injustice, discrimination, and resistance.

2. Myth as a Political Tool

She uses the myth to criticize casteism, showing how power and privilege (represented by Dronacharya) suppress talent from marginalized groups (like Ekalavya).

The poem connects ancient injustice to modern-day caste oppression, showing how little has changed.

3. Breaking the Silence

In Kandasamy’s version, Ekalavya is not silent he becomes a voice of protest.

The use of myth helps empower the oppressed and challenge Brahminical dominance.

 4. Symbol of Resistance

The image of Ekalavya losing his thumb becomes a symbol of how the oppressed are made powerless.

But Kandasamy flips this symbol  she says, you don’t need your right thumb to pull a trigger or hurl a bomb making Ekalavya a symbol of revolution.

5. Myth in Contemporary Context

By using a well-known myth, Kandasamy makes her message easy to relate to   but she radicalizes it.

The poem links ancient stories to modern struggles  caste violence, unequal education, and fascist oppression.

Conclusion:

Meena Kandasamy’s use of myth in Eklavyam is bold and transformative. She retells an old story not to glorify tradition, but to expose its injustice and to inspire resistance. The poem shows how myths can be used not to maintain power, but to fight it.

2."Laughing" - write a note on the use of this word in praveen gadhvi's poem .

In Pravin Gadhavi’s poem The Laughing Buddha, the word “laughing” is used in an ironic and thought-provoking way. Traditionally, the laughing Buddha symbolizes joy, peace, and spiritual satisfaction. However, in the poem, this laughter becomes symbolic of helplessness, irony, and protest. The Buddha is not laughing with happiness, but rather in disbelief at the contradictions of the world around him, especially the decisions made by political powers in the name of progress and nationalism.

The poem refers to India’s Pokhran nuclear tests, which were conducted on Buddha Purnima, the birthday of Lord Buddha  a symbol of non-violence and peace. This creates a powerful irony: the country celebrated Buddha’s birth while testing weapons of destruction. The Buddha’s laughter, in this context, becomes a satire on the government’s actions, showing the irony of performing violent acts in the name of peace. It’s as if the Buddha is laughing with tears in his eyes, mourning the loss of true values.

The poem also touches on economic concerns  how, despite poverty and social inequality, a developing nation like India focused on nuclear power. The Buddha's laughter questions these misplaced priorities. His “laughing” becomes a silent critique, a symbolic act of resistance against violence, political hypocrisy, and broken moral values. Thus, the word "laughing" in the poem carries deep emotional, historial, and political weight, urging readers to reflect on the real meaning of peace and progress.

Step : 2 Prepare a report of the group discussion addressing the following questions:

Which poem and questions were discussed by the group? Was there any unique approach or technique used by your group to discuss the topic?

We discussed two poems are : 

• Eklavyam by Meena Kandasamy 
• Laughing Buddha by Pravin Gadhvi

Questions that we are discussed:

• “Laughing” - write a note on the use of this word in Praveen Gadhavi’s Poem.

• Write a note on use of Myth in Meena Kandasamy’s Poem.

• Discuss the Poem “Eklavyam” by Meena Kandasamy.

• Explain the Significance of Laughing in the Poem “Laughing Buddha” by Praveen Gadhavi.

Apart from this, we also explored various aspects connected to the poems, including critical perspectives and political interpretations.

Was there any unique approach or technique used by your group to discuss the topic?

Yes, our group adopted a collaborative and organized approach to discussing the topic. There were six members in our group, so we divided ourselves into two sub-groups three members focused on one poem, and the other three on the second poem. Within each sub-group, we further distributed the questions from the question bank among ourselves. This method helped us cover all aspects of both poems efficiently and encouraged equal participation from every member.

Who led the discussion or contributed most to the discussion? Did everyone contribute equally?

Yes, all present group members contributed equally to the discussion. Before the discussion began, we had already divided the questions among ourselves. This allowed each member to focus on their assigned questions and prepare explanations. During the discussion, if someone made a mistake or missed a point, others helped by correcting and supporting them. This cooperative method ensured active participation and learning for everyone.

Which points were easy and which ones were difficult for everyone in your group to understand?

We discussed all the important aspects related to both poems. As I mentioned earlier, we had divided the questions among ourselves, so each member focused on their assigned parts. Because of this, no topic felt particularly easy or difficult for the group as a whole everyone was able to explain their points clearly. 

Personally, I found the critical views on The Laughing Buddha, as well as the ideas of fascism vs. communism, Brahminical hierarchy, and the use of myth in Eklavyam, easy to understand. The other points were not difficult either, but since I hadn’t prepared them in advance, I understood them better during the discussion with the help of my group.

Step 3: Briefly present your learning outcomes from this activity.

 I improved my ability to discuss and express literary ideas in a group. The discussion helped me gain new perspectives on themes like oppression, resistance, and the use of myth and symbolism in poetry.

Thank you 😊 

Sab Ka Apna Alag Hota Hai: A Comparative Reflection on Child Psychology and Education

 This  blog is a part of our academic activity, combining film review and literary analysis. It is assigned by Megha Trivedi Ma’am as part of our study on the portrayal of education in literature and cinema. After reading R.K. Narayan’s short story Crime and Punishment from Malgudi Days a sharp yet subtle critique of the education system and watching Aamir Khan’s 2025 film Sitaare Zameen Par in the theatre, we were asked to explore how both these works deal with themes of education, the role of teachers and parents, and the individuality of children. This blog presents my reflections on the film and its comparison with the short story.

How does the movie portray the education system?

Sitaare Zameen Par while not directly focused on the traditional school-based education system in the same way its spiritual predecessor "Taare Zameen Par" (which tackled dyslexia in a school setting) was, offers a powerful critique and commentary on societal attitudes that implicitly shape how the education system, and society at large, views and treats individuals with intellectual disabilities.

 A Critique of "One-Size-Fits-All" Systems: 

The film showcases a group of neurodivergent individuals who have likely faced significant challenges and exclusion within conventional educational frameworks. By highlighting their unique ways of learning, expressing, and interacting, the movie implicitly critiques an education system that often fails to accommodate diverse learning styles and needs. It suggests that the "factory where normal kids are produced like biscuits" (as one review puts it) often fails those who don't conform.

 The Lack of Inclusion and Understanding: 

The very premise of the film, where individuals with intellectual disabilities are coached for a basketball tournament as community service, points to a societal and perhaps systemic failure to fully integrate and value these individuals. It implies that these individuals are often seen as "other" or "problematic" rather than as individuals with unique strengths and potentials that a rigid education system might overlook or suppress.

 Emphasis on Strengths Over Deficits: 

The film's core message is about recognizing and nurturing the strengths of individuals with intellectual disabilities. This stands in contrast to an education system that often focuses on deficits and what individuals cannot do, rather than their inherent abilities and how they can contribute.

 The Importance of Empathy and Acceptance (Beyond the Classroom): 

While not explicitly showing classrooms, the film's message about empathy, acceptance, and "sabka apna normal" (everyone's own normal) is a direct call for a more inclusive approach that extends to educational settings. It advocates for an environment where differences are embraced, and learning is shaped by flexibility and understanding, rather than strict adherence to standardized norms.

 The "Teachable Teacher" Concept:

 The portrayal of Aamir Khan's character, Gulshan, as a "teachable teacher" who learns from his neurodivergent team, suggests a re-evaluation of traditional teaching roles. It implies that effective education, especially for diverse learners, requires educators who are willing to listen, reflect, and adapt, rather than simply impart knowledge. This is a subtle but potent critique of an education system that might not always foster such qualities in its educators.

In essence, "Sitaare Zameen Par" serves as a powerful reminder that true education goes beyond academic performance and includes the development of emotional intelligence, empathy, and the ability to foster inclusive environments where every individual, regardless of their neurodiversity, can thrive and contribute. It underscores the need for a system that moves from mere awareness to genuine inclusion.

What message does the movie give about the role of teachers and parents?

"Sitaare Zameen Par" delivers significant messages about the roles of both teachers and parents, particularly in the context of supporting individuals with intellectual disabilities.

Role of Teachers: The "Teachable Teacher"

The movie challenges the traditional "miracle teacher" trope, where a single, exceptional teacher swoops in to magically fix all problems. Instead, it advocates for the concept of the "teachable teacher."

 Learning is Reciprocal: 

Gulshan, the basketball coach, initially approaches his task with prejudice and condescension. However, through his interactions with the team, he himself undergoes a profound transformation. The film emphasizes that true growth and progress in inclusive spaces emerge from reciprocal relationships, where both the teacher and the students learn from each other.

 Empathy, Patience, and Acceptance: 

The film highlights that effective teaching, especially for diverse learners, requires empathy, patience, and a willingness to accept individuals as they are, rather than trying to force them into a predefined "normal."

 Adaptability and Reflection: 

A "teachable teacher" is defined by their willingness to listen, reflect, and adapt their methods to the unique needs of their students. They don't see themselves as the sole source of knowledge but as co-learners, growing alongside their students.

  Beyond Academic Metrics: 

The film implicitly suggests that a teacher's role extends beyond academic instruction to fostering emotional intelligence, building confidence, and nurturing individual talents, even if those talents don't fit into traditional academic molds.

You can also visit here for expand your knowledge click here 

Role of Parents: Acceptance, Support, and Advocacy

While the film doesn't explicitly focus on the day-to-day interactions of parents with their children, it strongly emphasizes their crucial role through the lens of supporting neurodiverse individuals. Drawing from insights about the role of parents in children's education, "Sitaare Zameen Par" reinforces these ideas:

  Acceptance and Understanding:

 The movie underscores that emotional intelligence in parenting begins with unconditional acceptance of a child's unique way of thinking and being. It challenges the societal pressure to "fix" or compare children, advocating instead for observing, pausing, and connecting with a child as they are. This aligns with the idea that parents are the "first teachers" who shape their child's character and self-worth.

 Focus on Strengths, Not Just Challenges: 

Similar to the message for teachers, the film encourages parents to look beyond a child's struggles and focus on their strengths and potential. This resonates with the parental role of nurturing diverse talents and celebrating individuality.

 Promoting Inclusion Beyond the Classroom:

 Parents are encouraged to actively provide opportunities for their children with disabilities to engage in various activities – be it sports, community spaces, or family gatherings. This aligns with the idea of parental involvement in their child's activities to ensure a holistic development.

 Early Identification and Intervention (Implicitly): 

Although not explicitly shown, the film's portrayal of individuals with intellectual disabilities, some of whom may have been identified earlier in life, implicitly supports the importance of early identification and seeking professional support.

 Advocacy and Challenging Societal Norms:

 The film serves as a wake-up call for parents to advocate for inclusion and challenge societal stereotypes and ignorance surrounding neurodiversity. It encourages parents to reflect on how they talk about disability and the values their children learn from them, highlighting the parent's role as a moral guide.

 Support Systems and Connecting with the Child:

 The film, by showing the coach's journey, mirrors the journey of parents who learn to navigate challenges and find joy in connecting with their children on a deeper level. This emphasizes the importance of parents being a "good friend" to their child, understanding their concerns, and providing a supportive environment.

In essence, "Sitaare Zameen Par" advocates for a shift in perspective for both teachers and parents: from being authoritarian figures who simply impart knowledge or impose expectations, to becoming empathetic facilitators, co-learners, and unwavering advocates who empower individuals to embrace their "own normal" and shine in their unique ways.

How does it compare with the story?

While both "Sitaare Zameen Par" and R.K. Narayan's "Crime and Punishment" touch upon themes of education, discipline, and the roles of adults in a child's life, they differ significantly in their approach, context, and the specific messages they convey.

1. Context and Setting:

 "Crime and Punishment" (R.K. Narayan): This short story is set in the fictional South Indian town of Malgudi, a microcosm of traditional Indian society. It focuses on a private tutoring scenario, highlighting the dynamics between a schoolmaster and a mischievous, privileged student. The setting is intimate and grounded in everyday realities of a specific cultural context.

 "Sitaare Zameen Par": This film is a modern-day narrative, spiritual successor to "Taare Zameen Par," and an adaptation of a Spanish film. It broadens the scope to address the inclusion of individuals with intellectual disabilities in a broader societal context, specifically through the medium of sports (basketball). While set in India, its themes are more universal in their appeal regarding neurodiversity and inclusion.

2. Core Conflict and Themes:

 "Crime and Punishment": The central conflict revolves around the schoolmaster's struggle to discipline a pampered and defiant child. The story delves into themes of:

•    Discipline vs. Indulgence: It satirizes "over-parenting" and modern child-rearing theories that eschew corporal punishment, suggesting that excessive leniency can spoil a child. The teacher believes in the "spare the rod and spoil the child" approach, contrasting with the parents' "gentle and non-repressive methods."

•   Authority and Obedience: It explores the power dynamics between a teacher, a student, and the influential parents, highlighting the challenges teachers face when parental approaches undermine traditional discipline.

•     Moral Dilemma: The teacher faces a moral dilemma after physically punishing the child, fearing the parents' reaction, which leads to a comical yet insightful "punishment" for him.

  "Sitaare Zameen Par": The core conflict is the journey of a prejudiced coach learning to understand and empower a team of neurodivergent individuals. Its themes are:

•     Inclusion and Acceptance: The film's primary message is the importance of accepting and including individuals with intellectual disabilities, challenging societal stereotypes and rigid definitions of "normalcy."

•     Empathy and Understanding: It emphasizes the need for empathy, patience, and a shift from focusing on deficits to recognizing and nurturing strengths.

•     Reciprocal Learning ("Teachable Teacher"): The coach's transformation highlights that learning is a two-way street; teachers (and parents) can learn invaluable lessons from those they are meant to guide.

•    Beyond Conventional Success: The film redefines success beyond academic or competitive achievements, emphasizing dignity, self-worth, and the joy of participation.

3. Portrayal of Teachers and Parents:

 "Crime and Punishment":

•     Teacher: Portrayed as a frustrated, financially struggling individual who believes in traditional, stricter methods of discipline. He is a victim of both the child's naughtiness and the parents' indulgent approach.

•    Parents: Depicted as well-intentioned but misguided, overly theoretical in their parenting, and perhaps unknowingly contributing to their child's defiance by spoiling him. They are against any form of physical punishment.

 "Sitaare Zameen Par":

•     Teacher (Coach): Initially arrogant and prejudiced, Gulshan (Aamir Khan) undergoes a significant transformation, evolving into a "teachable teacher" who learns empathy, patience, and the value of seeing individuals for their unique abilities. He represents the potential for adults to change their perspectives and become true enablers.

•    Parents: While not the central focus, the film implicitly calls for parents to practice unconditional acceptance, focus on their child's strengths, advocate for their inclusion, and be open to learning from their children's unique perspectives. The presence of Genelia Deshmukh's character often serves as a moral compass for Gulshan, guiding him towards a more empathetic understanding.

What did you feel or learn after watching the movie?

The movie powerfully conveys the importance of empathy and unconditional acceptance. It challenges the narrow societal definition of "normalcy," highlighting that every individual, regardless of their neurodiversity, possesses unique strengths and deserves dignity. I would learn that true education and guidance involve seeing beyond perceived limitations and fostering an environment where differences are celebrated.

The concept of the "teachable teacher" is profound, emphasizing that even those in positions of authority have much to learn from their students. It underscores the transformative power of patience and a willingness to adapt. Ultimately, the film teaches that genuine inclusion enriches everyone involved, fostering a more compassionate and understanding society.

References:

Dsouza, Neola. “Sitaare Zameen Par Trailer out: Aamir Khan Coaches a Team of ‘normal’ Kids to Victory.” Social Kandura, 16 May 2025, socialkandura.com/sitaare-zameen-par-trailer-out-aamir-khan-coaches-a-team-of-normal-kids-to-victory/?hl=en-US. Accessed 19 July 2025. 

Narayan, R. K. “The Malgudi Days : R.K. Narayan : Free Download, Borrow, and Streaming.” Internet Archive, 7 Jan. 1943, archive.org/details/the-malgudi-days/mode/2up. 

Prasanna, R. S., director. Sitaare Zameen Par. 2025. Aamir Khan Productions.

Maharaja: Analysing Editing and Non-linear Narrative

 Hello Everyone!

This blog is assigned by Pro. Dilip Bard sir ,as part of Analysing Editing and Non-linear Narrative in the Movie Maharaja which produced by Nithilan  Swaminathan.

Objective of this blog is that : 

To critically observe and analyze how editing shapes narrative structure in Nithilan Swaminathan’s Tamil action-thriller Maharaja through multiple timelines and temporal transitions. This worksheet helps students identify how cinematic time is constructed and how editing contributes to suspense, revelation, and audience engagement.

For more information you can click here.

Part - A : Before watching the film

WHAT IS NON-LINEAR NARRATION IN CINEMA? USE EXAMPLES FROM FILMS YOU’VE SEEN PREVIOUSLY.

What is Non-Linear Narration in Cinema?

Non-linear narration is a way of telling a story in which events are not shown in order  the movie jumps between past, present, or future, or reveals key events later, not when they actually happened. This helps create suspense, mystery, or a deeper emotional connection.

Examples from Films I’ve Seen:

1. Drishyam (Part 1 & 2)

In Drishyam, the story is told with flashbacks and hidden timelines. We don't see the full truth of what happened to the missing boy until much later in the movie. The editing reveals past events slowly, as the police investigate. This non-linear structure helps build suspense and makes the final twist more powerful.

In Drishyam 2, the narrative again jumps between different time periods. Vijay’s actions from the past are revealed gradually, and we keep learning new information that changes how we see the characters.

2. Nenokkadine (Ek Ka Dum)

In this movie, the main character suffers from memory loss and often sees hallucinations. The story jumps between real events, his imagination, and past memories. Because of this, the audience is also unsure what is real and what is not  just like the character. This is a strong use of non-linear storytelling to create confusion, mystery, and emotional impact.

HOW CAN EDITING ALTER OR MANIPULATE THE PERCEPTION OF TIME IN FILM? MENTION EDITING TECHNIQUES LIKE CROSS-CUTTING, FLASHBACKS, PARALLEL EDITING, ELLIPSES.

 How Can Editing Alter or Manipulate the Perception of Time in Film?

In films, editing can change how we experience time it can make time feel faster, slower, or jump between the past, present, and future. The editor decides how and when to show certain events. This helps build suspense, emotion, or surprise.

 Editing Techniques That Manipulate Time:

1. Flashbacks

• Show events from the past while the story is happening in the present.
• Help explain a character’s backstory or reveal hidden truths.
• Example: In Drishyam, we see flashbacks of what really happened to the missing boy, which are not shown in real-time.

2. Cross-Cutting

• Cutting between two different scenes that are happening at the same time in different places.
• Builds tension or shows connection between characters or events.
• Example: A scene of a father running to save his daughter is cross-cut with the villain reaching her house.

3. Parallel Editing

• Similar to cross-cutting, but often used to show two or more storylines moving forward together, even if in different time periods or locations.
• Used to compare or contrast events.
• Example:  Nenokkadine, the movie sometimes shows his past trauma alongside the present-day investigation.

4. Ellipses

• Skipping over time to move the story forward faster.
• Shows only the important parts and leaves out unnecessary moments.
• Example: A character starts training, and the next scene shows them already strong  the months of hard work are skipped.
• 
  

Part - B While watching the film 

• Identify at least 8 key narrative transitions where the timeline shifts.

 • Pay attention to editing techniques such as match cuts, jump cuts, dissolves, crossfades, sound bridges, etc.

 • Note audio cues, costume changes, dialogue references, or mise-en-scène indicators that help locate the timeline

PART C: NARRATIVE MAPPING TASK

1).    CONSTRUCT A TIMELINE OF EVENTS AS THEY OCCUR CHRONOLOGICALLY (STORY TIME):

2. CREATE A SECOND TIMELINE OF HOW EVENTS ARE REVEALED TO THE AUDIENCE (SCREEN TIME

3).    Brief Reflection: The Impact of Non-Linear Editing in Maharaja

The non-linear editing in Maharaja deeply enriches the narrative by withholding key information and revealing it gradually. This storytelling technique forces the viewer to actively piece together the puzzle, making the experience far more engaging. Initially, the protagonist Maharaja appears eccentric, even comical, as he emotionally complains about a missing dustbin. However, as the film unfolds through flashbacks, sound cues, and repeated storytelling, we realize the dustbin (Laxmi) symbolizes a traumatic past   it’s the only surviving link to his daughter Jyoti.

One of the most powerful reveals   that Jyoti is not his biological daughter but Selva’s  is emotionally shocking because it is delayed and carefully edited into the narrative. Rather than being told directly, we discover the truth along with the characters, especially through Nallasivam's realization, which heightens empathy.

Had the film followed a linear format, the emotional depth and suspense would have been significantly diluted. The nonlinear narrative not only builds mystery and curiosity but also mirrors the fractured, painful memory of the protagonist  making the audience feel the trauma as he experienced it.

PART D: EDITING TECHNIQUES DEEP Dive 

These two scenes highlight how Maharaja (2024) goes beyond traditional editing. By using visuals, timing, and emotional pacing, the film transforms ordinary moments into powerful revelations. Editing isn’t just a technical craft here  it becomes a vital storytelling tool that shapes how we experience truth, trauma, and transformation.

References:

Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.

Maharaja. Directed by Nithilan Saminathan, Passion Studios, Think Studios, The Route, 2024.

Radhakrishnan, Roopa. “Maharaja Movie Review: An engaging but engineered film that works even with faults.” Times of India, 14 June 2024,

 https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/maharaja/movie-review/110948075.cms. Accessed 15 July 2025.

An Astrologers day by R.K. Narayana + Short film review

 An Astrologers day by R.K. Narayana + Short film review 

Introduction 

This blog is part of a thinking activity task based on short story called An Astrologer's Day. In this blog the comparison is made between the short film and the short story. For more information click here.

In just a single evening, under the dim lights of a bustling Indian street, a man who reads stars comes face to face with a buried past. R.K. Narayan’s An Astrologer’s Day reads like a perfect short film compact, gripping, and full of unexpected turns. With a cinematic setting, subtle suspense, and a twist that catches you off guard, the story unfolds like a reel of fate, where chance and irony meet. This blog views the story through a filmmaker’s eye short, sharp, and storytelling at its finest.

Pre-Viewing Tasks:

• Observe the setting, plot, character, structure, style, theme of the original short story.

R.K. Narayan’s An Astrologer’s Day is set in a bustling South Indian marketplace, alive with street vendors, flickering gaslights, and the constant murmur of the crowd. In this vibrant setting, an astrologer sets up his small, colorful stall each evening, pretending to read people’s futures. The atmosphere is rich with sensory detail, where the shadows of the night play a key role in concealing both truth and identity. The astrologer is not a trained mystic but a clever man who relies on sharp observation and human psychology to earn his living. The story takes a dramatic turn when he encounters a stranger named Guru Nayak, who unknowingly turns out to be the man he once tried to murder. With wit and manipulation, the astrologer convinces him that his attacker is dead which is technically true allowing both men to walk away with a strange sense of closure.

Narayan builds this short story with subtle suspense, a tight narrative structure, and a quiet yet powerful twist. The characters are few but deeply symbolic  the astrologer as a representation of deception and survival, and Guru Nayak as a figure of fate and unresolved vengeance. The author’s style is simple, clear, and lightly ironic, allowing the story to unfold with ease while still leaving a strong impact. Thematically, the story explores the conflict between fate and free will, guilt and redemption, and the ironic ways in which truth can emerge from lies. Ultimately, An Astrologer’s Day captures the unpredictability of human life, showing how chance encounters and hidden truths can reshape destinies all within the space of an ordinary evening on an ordinary street.

While viewing task : 

The Beginning – The Market Scene 

The film opens with a vibrant and realistic portrayal of a busy marketplace, capturing the daily rhythm of the astrologer’s work. Amidst flickering lights and crowded stalls, the astrologer delivers predictions with confidence and calculated mystery. His advice often mixes vague truths with humorous superstitions, like blaming the customer's troubles on peanut consumption affecting the Bharani constellation. This scene sets the tone of the astrologer’s livelihood one built on performance, persuasion, and survival.

Important Scene – The Conversation with Wife 

In a brief yet intimate domestic scene, the astrologer’s wife engages him in a light-hearted conversation that reveals their family dynamics. Her recounting of their daughter Chutki’s innocent misunderstanding adds humor and emotional warmth to the story. The wife’s reflections on her village memories and their current urban life highlight a contrast between nostalgia and necessity. Her dialogue reveals that despite longing for her past, she understands the city offers them better stability. The scene subtly grounds the astrologer in an ordinary, relatable domestic world.

Important Scene – The Encounter with Guru Nayak

This is the film’s turning point. Guru Nayak, suspicious and intense, challenges the astrologer's skills, offering to pay double for accuracy. As the conversation unfolds, the atmosphere thickens with tension. The astrologer not only recognizes his former victim but cleverly manipulates the moment, stating that the attacker (himself) is already dead in a lorry accident. His guidance to return north and avoid the south is both strategic and symbolic  pushing Guru Nayak away from the truth. The calm with which the astrologer applies a "tilak" and offers parting advice underscores the control he maintains, even while internally shaken.

The Climax Scene 

In a rare moment of vulnerability, the astrologer confesses his truth to his wife. The weight he had carried for years the belief that he had committed murder is lifted when he learns that the man he once attacked is alive. His recounting of that drunken night, the gambling, and the stabbing reveals a hidden layer of guilt and regret. This confession marks a shift in his character, transforming him from a deceiver to a man seeking emotional relief. His gesture of bringing sweets for his daughter signifies a renewed sense of freedom and a symbolic act of redemption.

The End 

The film closes on a powerful silent note. The wife listens quietly, processing the magnitude of her husband’s revelation. Her stillness, paired with her thoughtful expression, speaks volumes not just of shock, but possibly of forgiveness, understanding, or the complexity of their shared past. The silence allows the audience to reflect alongside her, ending the film on an emotionally resonant and introspective tone.

Post-Viewing Tasks: Reflection Questions

1. How faithful is the movie to the original short story?

The film is very faithful to the original short story. It captures the core plot, tone, and characterizations with accuracy. Some visual additions, like the domestic scenes and Chutki’s innocence, enrich the story without altering its essence.

2. After watching the movie, have your perception about the short story, characters or situations changed?

Yes, the visual representation made the characters feel more real and relatable. The astrologer’s internal burden and his interaction with Guru Nayak felt more intense in the film than in the written text. The wife’s role, though minimal in the original, adds emotional balance in the movie.

3. Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If no, can you explain with reasons?

Yes, I felt aesthetic delight during the astrologer’s confession scene. The lighting, his calm tone, and the silent reaction of the wife created a beautiful emotional contrast. The marketplace scenes were also visually satisfying and culturally rich.

4. Does screening of movie help you in better understanding of the short story?

Absolutely. Seeing the characters, expressions, and setting visually made the underlying themes of guilt, irony, and identity much clearer. The added emotional context helped me understand the astrologer as more than just a clever fraud  he’s a man shaped by his past.

5. Was there any particular scene or moment in the story that you think was perfect?

The encounter with Guru Nayak was perfectly executed. The tension, dramatic irony, and subtle expressions conveyed more than the dialogue. It truly captured the climax of the story and kept me fully engaged.

6. If you are director, what changes would you like to make in the remaking of the movie based on the short story “An Astrologer’s Day” by R.K. Narayan?

If I were the director, I would add a short flashback during the astrologer’s confession  a brief scene of the gambling night  to visually connect the past and present. It would add more clarity and emotional weight to his journey without altering the story’s timeline.

Here is video of Shortfilm:

Thank youuu🤗

References 

"An Astrologer’s Day| Hindi Short Film.” YouTube, 16 June 2020, www.youtube.com/watch?v=_tygoddU7W8. 

Narayan, R. K. Malgudi Days. Penguin, 1984.

Profile, Visit. Worksheet :- Screening of Short Film “An Astrologer’s Day” Based on R.K.Narayan’s “An Astrologer’s Day”. 7 Sept. 2021, vaidehi09.blogspot.com/2021/09/worksheet-screening-of-short-film.html.

Reading Between the Lines: AI Meets Poststructuralist Poetry

 This blog is  in response to an assignment given by Dilip sir. The task involves generating an AI-based poem and providing study material on the theory of deconstruction or post-structuralism. The objective is to analyze the generated poem using these theoretical frameworks and then have ChatGPT perform a deconstruction of the poem.

For more information you can visit teacher's Blog by click here:

Poem 1  :  The page and the pulse 

A tale begins where silence learns to speak,

In symbols inked by hands forever weak.

The truth is housed in lies we dare not name,

And mirrors burn with every borrowed flame.

A hero walk but changes with the text,

The past rewrites itself in what comes next.

Each meaning sleeps beneath a mask of thought,

Yet readers claim the prize the writer ought.

Does sense arise, or do we dream its shape?

A prison made of doors we can’t escape.

Analysis with Three Step Model of Peter Barry : 

🔹 1. Verbal Stage (Close reading for paradox, ambiguity, contradiction)

At this stage, we examine individual lines or phrases for internal contradiction or paradox, where language undermines itself.

•  “A tale begins where silence learns to speak”

→ Paradox: Silence is absence of speech; how can it “learn to speak”? The phrase destabilizes its own logic a silence that speaks creates semantic contradiction. What does it mean for silence to learn? Can silence be a subject?

• “The truth is housed in lies we dare not name”

→ Internal contradiction: Truth is “housed” in lies. If lies can house truth, then lies aren't wholly untrue. This paradox reflects the post-structuralist idea that meaning arises through contradiction, not clarity. It questions binary oppositions of truth/falsehood.

• “Mirrors burn with every borrowed flame”

• → Metaphorical contradiction: Mirrors reflect; they don’t burn. A borrowed flame burning a mirror (which normally reflects flame) is rich in semantic instability do images (reflections) destroy their sources? Or does copying (borrowing) consume the original?

•  “The past rewrites itself in what comes next”

→ Temporal contradiction: The past is rewritten by the future. This inverts linear time and suggests that meaning is never fixed—a key poststructuralist insight about history and narrative.

🔹 2. Textual Stage (Shifts in tone, voice, time, focus; breaks in unity)

This level looks for broader discontinuities and shifts that reflect incoherence or instability in the text's overall structure.

• Shift in agency and subject:

In stanza 1, we start with abstract ideas personified “silence,” “symbols,” “truth,” “lies,” “mirrors.” But by stanza 2, we move to specific human figures—a “hero,” “readers,” and a writer. The movement from abstract to concrete suggests a shift in narrative position or focus, from symbolic/metaphysical to reader-response-oriented commentary.

• Voice and pronoun ambiguity:

The poem has no “I,” “you,” or definite subject. It speaks from a disembodied voice—an absent narrator. This lack of stable narrative voice invites multiple interpretations, as if the text denies the possibility of a central authority.

• Chronological disturbance:

Stanza 2's line “The past rewrites itself in what comes next” shows a rupture in linear time, where effect precedes cause, further undermining structural coherence. Time becomes a loop rather than a line, making interpretation unstable.

🔹 3. Linguistic Stage (Language’s own unreliability, aporia, contradictions in expression)

At this level, we observe how the poem comments on, or is undermined by, language itself—its limits, failures, or impossibilities.

• Aporia: The final couplet—

Does sense arise, or do we dream its shape?

A prison made of doors we can’t escape.

This is a classic example of aporia: an unresolvable tension. "Sense" might be real or imagined ("dreamed"), and the image of a prison made of doors is deeply ironic—doors are meant for escape, yet they confine. This suggests that language (or meaning) offers options that are all illusory, reinforcing Derrida’s idea of différance—that meaning is always deferred.

• Impossibility of truth-telling

The poem claims that “truth is housed in lies” and “meaning sleeps beneath a mask of thought.” The very tool (language) the poem uses to express itself is shown to be inadequate or duplicitous. This is linguistic self-critique: language is unreliable but inescapable.

Irony: The poem suggests that readers “claim the prize the writer ought” – a biting irony about authorship, reader authority, and interpretive theft. This mirrors Barthes’ “Death of the Author” where meaning belongs to the reader, not the writer—a key tenet of poststructuralist reading.

Conclusion of the Deconstructive Reading:

• The poem appears to meditate on literature and language, yet undermines its own assertions.
• It contains paradoxes at the verbal level, shifts and incoherence at the structural level, and a deep mistrust of language at the linguistic level.
• The speaker seeks meaning, yet the form and diction suggest meaning is always out of reach.
• Like the deconstructionist ideal, it does not present a single coherent message but instead invites readers to witness the collapse of coherence.

Poem 2 :  "Echoes in the Glass"

I scroll through faces I have never known,

Each smile a mask, each voice a borrowed tone.

Reflections shift within the glowing screen,

Yet none confess what any image means.

My name is typed, retyped, erased again

A shadow shaped by algorithmic rain.

The self I wear is stitched from borrowed thread,

But who am I when silence speaks instead?

They say I’m free to choose, yet paths are drawn,

And choice feels most like sleep

 before the dawn.

Applying Catherine Belsey’s Poststructuralist Framework

🔹 1. Language Does Not Reflect Reality It Constructs It

Belsey asserts that language does not mirror reality but instead produces it. In this poem:

The speaker’s identity is not rooted in a stable self but in signifiers that constantly shift:

“My name is typed, retyped, erased again”

“A shadow shaped by algorithmic rain”

These lines suggest that identity is constructed through digital language, not discovered. Language here (usernames, posts, algorithms) generates the illusion of self, echoing Belsey’s point that meaning is not inherent but created through discourse.

🔹 2. The Subject is Decentered / Identity is Not Fixed

Belsey, drawing from Lacan and Althusser, describes the subject as produced through ideology and language, not as a stable “I.” This poem aligns perfectly:

“The self I wear is stitched from borrowed thread”

This metaphor suggests identity is textile-like patched together from cultural codes, digital personas, and social narratives.

“Who am I when silence speaks instead?”

The self is defined by absence, by what cannot be said, echoing Derrida’s notion of aporia a site of interpretive undecidability.

Thus, the “self” in this poem lacks essential presence, and becomes a fluid, decentered construct a core idea in Belsey’s theory.

🔹 3. Multiplicity of Meaning / No Authoritative Interpretation

The poem offers no final clarity about whether identity is liberated or entrapped. Take this line:

“They say I’m free to choose, yet paths are drawn”

This ironic ambiguity undercuts liberal ideals of agency and destabilizes the binary of freedom vs. control. The poem suggests that digital autonomy is simulated, a discursive illusion.

Following Belsey’s thought, the meaning isn’t stable the poem invites competing readings:

• A critique of digital identity construction
• A lament of postmodern alienation
• A quiet resistance to algorithmic determinism

There’s no privileged interpretation the reader’s engagement produces the meaning, not the author’s intent.

🔹 4. Play of Signifiers / Surface Without Stable Depth

Belsey’s poststructuralism emphasizes the slipperiness of the signifier. In this poem:

“Each smile a mask, each voice a borrowed tone”

“Reflections shift within the glowing screen”

These images echo the Simulacra of Baudrillard and the floating signifiers of Barthes representations detached from any authentic referent. The language gestures toward real people, but undermines their substance, leaving only performances.

This reflects Belsey’s insight that the signifier is not anchored it endlessly defers meaning, a concept Derrida calls différance.

🔹 5. Author is Displaced / Reader Constructs the Meaning

The poem avoids personal confession or authorial explanation. There is no “true self” being unveiled.

The speaker’s identity remains opaque and unstable.

The poem ends not with resolution, but with ambiguity:

"And choice feels most like sleep before the dawn.”

This metaphor suggests unconsciousness rather than awakening, a dark twist on the Enlightenment metaphor of “light = knowledge.” Who chooses? What dawn? The reader must decide.

As Belsey would say, the poem resists closure and calls for active interpretation rather than passive reception.

 Conclusion: 

How Belsey’s Framework Enhances This Reading

Through the lens of Catherine Belsey’s poststructuralist theory, “Echoes in the Glass” becomes:

• A text with no fixed center
• A site of shifting meanings and unstable identities
• A commentary on how language constructs reality, not simply reflects it
• An example of how interpretation is plural, not singular
• A challenge to the notion of authorial control

References 

Images are generated by Open AI Chat-gpt

Barry, Peter. Beginning Theory, 3/E. Viva Books Private Limited, 2010.

Barad , Dilip. (PDF) Poetry and Poststructuralism: An AI-Powered Analysis, www.researchgate.net/publication/382114259_Poetry_and_Poststructuralism_An_AI-Powered_Analysis. Accessed 03 July 2025. 

Belsey, Catherine. Poststructuralism: A Very Short Introduction (Very Short Introductions). OUP Oxford, 2002.