English

Utopian comes from the word ‘Utopia’ coined by Sir Thomas More for his 1516 book Utopia, describing a fictional island in the Atlantic Ocean. The meaning of the term is excellent or ideal, visionary and it would not be wrong to call Shakespeare a visionary. According to Marcuse “The Utopia in great art is never the simple negation of the reality principle but its transcending preservation {aufhebung} in which the past and present cast their shadow on fulfillment.” Kiernan Ryan opines that “Shakespeare’s plays dramatize the historical reality of their time in such three dimensional depth and solid, sensuous detail, the universalizing perspective from which they dramatize it is charged with a power and a capacity to convince, that it would not otherwise possess.” Shakespeare’s drama dislocates its vision from his time and projects it into the future beyond our time yet that would not take away the plays immersion in their moment in history. The timeless is the product of the temporal. The utopian is latent within the dystopian facts of history.

Abstract
Traumas are naturally occurring events that shatter an individual or collective actor’s sense  of well being.Trauma according to the Enlightenment thinkers can be understood as a kind of rational response to abrupt change whether at individual or social level.  Trauma also necessitates witness, speaking, to somehow make an impression on the world that records the outrage of the moment  . Trauma studies not only help us to understand the impact of world historical events like the  Holocaust or the Partition of India, but has also evolved to include a whole lot of personal,social and historical experiences.The ‘inherent latency’ of the Trauma produces a structure of belatedness, “since the traumatic event is not only experienced  as it occurs , it is fully evident only in connection with another place and in another time.” The  “another place” and ‘another time’ unfolds in a narrative in the form of Memoirs, Autobiographies, Bildungsroman and other documentary forms like Paintings.  Painting is also a narrative which tells a story . Like other Trauma Narratives , it is  not only a space in which the personal element of public pain can be shared with others but also creates healing forms of repetition. For victims of trauma like P.L Parasher , Painting is one of the means to speak the unspeakable. Usually for the victim of trauma , there is a dual compulsion: one that makes speaking necessary and another that makes it impossible . The Paintings of Parasher , the subject matter of which is the Partition of India, portray a similar tension between expression and silence.  So for P.L Parasher , painting the trauma is one of the most effective coping strategies for dealing with trauma.
Key Terms: Trauma Narrative, Inherent Latency, Transference, Temporality, Trauma Process

Clinical Pearls • For elderly patients with early-stage triple-negative breast cancer and a life expectancy more than 5 years, chemotherapy is the main systemic approach as older patients derive the same benefits from systemic therapies as their younger counterparts. • Patients 70 years of age and older with early-stage triple-negative breast cancer should be offered the same breast surgery options as their younger counterparts. • Appropriate geriatric assessment tools should be utilized when prescribing systemic therapies to elderly patients with triple-negative breast cancer.

Even though literature is considered to be a space that promotes freedom, it can be argued that this freedom has a particular cost. In an economically administered world, what matters is the commerciality of literature and its aesthetics. Owing to the establishment of such capitalization of the written mediums, graphic narratives have
always presented a sort of counter-culture against the mainstream. However, further probe and speculation shows how even graphic narratives are increasingly becoming a part of the culture which it retaliates against. Having established the duality present in the creation of graphic narratives, the crux of this paper is to look at a subculture of
graphic narratives – the zine. The etymological background of the word ‘zine’ refers to the informal way of attributing to a piece of work that is somewhat similar to a magazine. However, unlike a magazine, a zine follows the “do-it-yourself” philosophy. The purpose of zine is to practice non-capitalist art that speaks to the masses. To further the argument, this paper takes into consideration the special case of queer zines which
become culturally crucial to trace underground queer movements and queer resilience.
The idea is to go beyond the rainbow-washing of popular mediums to create an alternate accommodative space for art that promotes activism. With reference to Queer Zines in South Asia, especially in India, this paper aims to delve deeper into the multidimensional politics of producing these zines which become methods of archiving queer lives. Additionally, the stress would lie on tracing how a marginalized art form becomes an effective tool for a marginalized community to express themselves.
This paper would apply narrative theories in combination to deciphering dichotomies in archiving queer stories to probe into the possibilities of censorship and therefore the resistance that this art form gives rise to

Janette Bicknell writes in her Study of the Sublime in Music: ""The concept of the sublime changes with different philosophical thinkers, each of whom interpret it within a different conceptual framework and emphasizes different features". 1 Her focus was mainly on non-vocal music, here. Bicknell shows the concept of the sublime by mingling it to the feeling that is intense and stunning, which simply denote just an emotional effect. This paper will try to investigate and analyze certain uses of the concept of "Sublime" in comparison to late eighteenthcentury and nineteenth-century musicians and with a focus on large-scale vocal performances. I shall also try to establish that these concepts are originally derived from Longinus"s concept of "sublime". According to Longinus, sublimity is a quality not always obtained by those who aspire to it. The sense of the "sublime" is similar in large-scale vocal performances. I shall try to show that how the concept of the sublime is related to the fields other than literature, especially in the Seventeenth Century oratory.

Longinus's On the Sublime is a treatise on style, a doctrine on the effects of writing and oratory. Longinus, in this phenomenal work, advocated proudly that sublimity is a quality that cannot be earned by everyone, only special artists can bring sublime effects in their products of art. He established that there was a technique of creating sublime effect. According to him, bold thinking capacity, enormous passion, elevated figures of speech, proper diction, and capacity to create a colourful composition are five elements for creating sublimity when they are amalgamated perfectly. Later, thinkers and critics like Edmund Burke and Immanuel Kant presented the theme of sublimity in relation to horror, fear, and pain; but sublimity, as a concept of loftiness and beauty, lies everywhere, it deals with almost every artistic product like sports, movies, theatre, science, music, architecture and so on. In this paper, I shall try to present the concept of sublimity and its relevance in terms of Nineteenth Century Opera, an extremely popular and distinguished form of classical vocal performance. Besides, this paper will also attempt to show the failures that have become prominent in showing the sense of sublimity in actual performances.

Longinus introduced sublimity as a type of eminence or excellence of discourse, especially in literature and oratory. In ancient times, poetry was believed to be the finest product of art and this can be traced in the writings of great Greek thinkers like Aristotle, Plato and Longinus. Longinus advocates for the assimilation of certain qualities which, together, produces sublime feelings or expressions. It should be noted that there is distinction between grandeur and sublimity; grandeur produces amazement and wonder, but sublimity encompasses a combination of wonder and an ability to transport the mind with an irresistible power. Longinus declares that Sublimity, if produced at the right moment, tears everything up like a whirlwind, and exhibits the orator’s whole power as a single blow. This paper will try to investigate different stages of the ‘sublime’ as a style in poetry within the rhetorical tradition of the ancient Greco-Roman world, its core nature, and the way it operates to build the soul of a lofty art product. It will also try to re-understand Longinus’s theory of sublimity, its importance and relevance.

ChakrabortyBollywood has always portrayed a heterosexual socio-economic platform for film making essentially by concentrating on male-female relationships that has been considered to be ‘natural’, or more pointedly, ‘legal’. Delhi High Court, in a historical verdict in 2009, overturned Section 377 of the Indian Penal Code by legalizing consensual homosexual relationships between adults. Although Bollywood has shown man-man relationships in movies like My Brother Nikhil (2005), Yours Emotionally (2006), Dostana (2008) and Fashion (2008) even before 2009, post-377 Bollywood screen has gained confidence and liberty to speak about the alternative sexuality, especially in case of the projection of ‘maleness’ from a different stand-point of experiences and through a different looking glass. It is also evident that same-sex relationship in Bollywood movies, though in a wrap of friendship, has a long history but it has been marginalized as an approach and has never come to mainstream. As Section 377 that criminalized homosexuality was overruled, same-sex relationships on Indian screen gained extra hype. Since then, Bollywood has played a very significant role in widening the discourse around LGBTQ rights in India. This paper will look into the changing canvas of the orientation specifically of male sexuality and homoerotics on post-377 Bollywood screens.

Benjamin Labatut is a Chilean writer and was born in Rotterdam in 1980. At the age of 14, he moved to Santiago. Benjamin Labatut published After the Light in 2016 which, according to Javiera Guajardo, “is a journey through incidents in the lives of a diversity of historical figures: Buddhist monks, scientists like Albert Einstein, psychoanalysts like Sigmund Freud, mathematicians like Srinivasa Ramanujan or writers like Jorge Luis Borges, but who have in common the fact that their ideas broke molds and redefined basic conditions in their times”1. When We Cease to Understand the World is Benjamin Labatut’s third book. Pushkin Press, in 2020, published When We Cease to Understand the World which is very strange as a fiction. Labatut created a metaphysical novel filled with astonishment and is admirable. Labatut tells the stories of some of the most incredible and thrilling 20th century’s scientific inventions that ended in unknown results, and sometimes in pure darkness.

The biggest merit of George Eliot as a creator of characters lies in her craftsmanship in depicting the gradual growth of the characters. Eliot's characters are never grotesque; they continue to grow, either toward betterment or toward more meanness. According to Eliot, character, too, is a 'process' 1. In George Eliot's novels, the characters develop gradually, yet steadily, as we start to explore them. They either ascend or descend, and they cherish this transformation. George Eliot's major characters show moral classification, which is less, to some extent, in case of Eliot's portrayal of minor characters in her novels. If we focus on some of Eliot's minor characters, we often find that they are also contributing to the moral themes 2 of the respective novels. In this paper, we shall try to find integrity in the minor characters in George Eliot's novels, and the social ambience where they grow.

So far as the Education Scenario of West Bengal is concerned, Pandit Iswar Chandra Vidyasagar held a significant position as a member of the then enlightened community of the Bengal Renaissance, his ideas, and his enthusiasm overwhelmed his countrymen in many ways. As an administrator, he had the responsibility to design the education sector of Bengal from its core and the periphery of Women's Education got a significant focus during his time. Though the conceptual pattern had been borrowed from foreign ideology, it has its root in the soil of the Indian Education system also. This paper wishes to focus on the domain of Women's Education and the empowerment of women as envisaged by Vidyasagar with a just appreciation of the historical scenario that has ultimately designed his stance as a deliberate strategy to attune society with the conceptual pattern of the idea of Motherhood.

Quality can be defined by effectiveness of learning experience provided to the
students. Thus, quality is a multidimensional and dynamic concept (Vlãsceanu et al., 2007)
and in this connection, the issue of skill development gets impetus ensuring the quality for
educational outcomes. The National Education Policy, 2020 has indeed focussed on such
issues that may lead to a constructivist learning process. Hence, the focus of this paper is to
ponder over the concept of self-efficacy which is a task-specific one (Bandura, 1986) and
therefore it is needed to be measured specifically; and as language learning differs from other
types of learning (William, 1994), more attention needs to be paid to skills like Reading
Comprehension ability in learning English as a second language. This theoretical
investigation is backed by constructivist assumptions that may help to lead to effective
learning.
Keywords: Quality, Learning Experience, Self-Efficacy, Reading Comprehension, ESL.

Catanionic microemulsions formed by dodecyltrimethylammonium bromide (DTAB), sodium dodecyl sulfate (SDS), n-hexanol, dodecane, and citrate buffer have been characterized by using dynamic light scattering (DLS) and spectroscopic studies. While the DLS measurements provide information about the hydrodynamic diameters of the microemulsion droplets formed upon variation of the constituents, steady-state and timeresolved fluorescence emission experiments probe the polarity and the dynamics of the trapped solvent pool inside of the microemulsion droplets of nanometer dimension. In addition, time-resolved fluorescence anisotropy shows the rigidity of the confined solvent pool as well as the coupling between the motion of a solute and those of the solvent molecules. The results obtained from the DLS and those from the steady-state and timeresolved fluorescence emission studies have been found to correlate well with the superactivity of horseradish peroxidase enzyme in the catanionic microemulsions. Subsequently, the time-zero estimate for the dynamic Stokes shift in these microemulsions reveals that approximately 50% of the total solvent dynamical response is missed due to the limited time resolution employed in our experiments. The amplitude of the missing portion is similar to what has been observed recently for nanoscopic water by Fayer and co-workers (Piletic, I. R.; Tan, H.-S.; Fayer, M. D.

the essay deals with the psychological aspect of freedom with the slow and steady change in human ideas and a number of movements which, either implicitly or explicitly is associated with our idea of  freedom. Here is hardly any concrete example of ‘political’ or ‘economic’ freedom. I have given a special emphasis on the works of George Orwell who opened up newer vistas of freedom. The hindrances are exposed as far as possible.

Ruskin Bond is born in May 1934, in Kasauli. We have mainly found Ruskin Bond in our school life through his celebrated collection of short stories. His stories for children gave him recognition as a singular figure among authors who writes for young readers. At the age of seventeen, he wrote his first novel The Room on the Roof. He was awarded the Padma Shri in 1999 for his contributions in the field of children's literature. Bond writes in a very lucid, extremely enjoyable style that leaves the readers wanting for more. Ghosts in Bond's stories are comic and melodramatic. He writes his stories based on his own life experiences and the impressions left on him by people or things are reflected in his works. This paper examines how Bond's yarning of stories evoke an insatiable craving for more within the readers as he traverse the realms of suspense and the supernatural. It also examines how nature plays a vital role in Bond's stories as well as how haunting can be used as a powerful metaphor that influences and moves the plot forward.