Using ICT for Learning the Punjabi Language: A Case Study

Sandeep Kaur

Lovely Professional University. Email:

Volume 9, Number 1, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n1.32

Received January 19, 2017; Revised April 28, 2017; Accepted April 30, 2017; Published May 7, 2017.


In the context of the relevance of regional languages in modern era, many modern tools have come into circulation. ICT has so for not been introduced in the realm of regional languages properly. It is widely assumed that computer based programs, software and web links do not support students in their learning of Punjabi.  However, this paper offers a contesting yet positive view. This study is designed to prove that laptop, mobile phones, internet- connectivity and projector based learning is very effective for students in learning of Punjabi. This research paper is based on findings of qualitative nature. For this research purpose case studies have been used. Questionnaires are used to collect data. Data are analysed by using descriptive numerical techniques made to express frequency, percentage and mean. On the basis of findings few suggestions are made.

 Keywords:  Pedagogy, Learning, Language, ICT, Skills, technology.

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Writing Resistance: an Understanding of the Narratives of Empowerment in Toni Morrison’s A Mercy

C.L. Shilaja

Sathyabama University

Volume 8, Number 1, 2016 I Full Text PDF


Language is the medium by which one’s psychological experiences, emotions and imaginations can be recreated in the minds of the reader or listener. Through ages language has been the vehicle with which humans have communicated ideas to each other. Language has not only the power to heal and to comfort but also to retrieve the suppressed experiences of an individual from the past.This paper seeks to discuss Toni Morrison’s novel A Mercy as a text that explores the common language uncommonly well in using it as a double edged sword. She subverts language in a rather complex play of words employing it as a powerful tool for the survival and continuance of existence for the voiceless. It becomes a means of identity construction as much as a tool of empowerment, for the marginalized to overcome their traumatic experiences.

Key words: Toni Morrison, Suppressed Self, trauma, identity, language

Semiotic Encryption of Women, Violence and Hysteria in Indian Women Dramaturgy

Praggnaparamita Biswas,  Banaras Hindu University, India

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The juxtaposing depiction of women, violence and hysteria as semiotic elements in women-centric play-texts attempts to translate the theatrical meanings because of its demonstrable approach to unearth the textual meanings and its relational politics of representation. From semiological aspect, the interplay of women, violence and hysteria generates a kind of semiotic femaleness in order to prognosticate the feminist route of cultural politics imbedded in the narratives of female composed drama. The present paper intends to analyze the semiotic transformation of Indian women dramaturgy in the plays of Padmanabhan, Mehta and Sengupta. Each of their plays tries to interpret new meanings hidden under the semiotic signs used by these playwrights and also attempt to project the gender politics visualized in the realm of feminist theatre.  

Modern Rendition of Ancient Arts: Negotiating Values in Traditional Odissi Dance

Shreelina Ghosh, Dakota State University

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Recent innovations in remediating performances allow dancers to perform, collaborate, teach, learn and forge new inter-body relationships that substitute the traditional Guru-Shishya or master-disciple relationship. The divide between technologized and traditional practices in dance creates a productive space that can help scholars understand how digital and networked technologies are transforming embodied cultural memory. Tradition-technology encounters and formations of a deviant discourse challenge the dominant (traditional) norms of embodied cultural memory. My qualitative study of the field reveals that innovation has been encouraged by the most members of the dance community. However, if mediated dance compromises values associated with the dance, like its sacredness, the importance of the body, and the importance of the Guru, it can be potentially subversive to the traditional practice. The main points of conflict between traditional dance and technologically mediated practices indicate moments of compromise in the traditional values.

The Entangled Vocabulary of Performance

Sruti Bala, University of Amsterdam, Netherlands

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This article attempts to map the concept of performance, in terms of its genealogy and the diversity of its application. Such a mapping is an unavoidably reductive step, since the productive force of the concept partly relies on the difficulty of pinning it down to a precise typology or set of definitions. The act of mapping out the concept can itself be interpreted as a kind of performance, as has been argued by Richard Schechner (Performance Studies, 40-42), it is not a neutral or interest-free undertaking, and however persuasive the mapping may be, it may not necessarily simplify the application of the concept, nor resolve the disputes around it. As a “keyword” in the sense of Raymond Williams, performance is an operative concept, “whose meanings are inextricably bound up with the problems [they are] being used to discuss” (Keywords, 13). The concept is not merely descriptive, but programmatic, in that the choice and justification of the uses of the term lead to and imply specific effects. German theatre scholar Erika Fischer-Lichte describes the concept in terms of the range of its semantic shades, ‘Begriffsabschattungen’ (Kulturen des Performativen, 9), arguing that these shades need to be seen in relation to each other in order to trace the histories and contexts of the concepts of performance and the performative. Fischer-Lichte derives the semantic shades of the performative with reference to different disciplinary influences and deployments of the term, such as anthropology, linguistics, language philosophy, technology, economics and aesthetics. A typology and historicisation of the concept is a necessary though not entirely sufficient step in understanding its usage. Even if one makes sense of each of the shades of the term, one does not know how to make sense of the entire range of these shades.

The Semiotics of Violence: Reading Italo Calvino’s The Castle of Crossed Destinies

Debamitra Kar, Women’s College, Calcutta, India

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This paper attempts a reading of Italo Calvino’s novel, The Castle of Crossed Destinies (1969) from a postmodern perspective. The novel has always been seen as structuralist experimentation, particularly because it was written at a time when Calvino was associated with the OULIPO, the group of the French philosophers like Claude Levi-Strauss, Roland Barthes and others. The paper argues that the simultaneous reading of the words in the text and pictures in the margin, challenges the very practice and method of reading. The novel suggests that it can be read as a card game, a game that accentuates deferral and plurality of meaning. These conflicting readings create the semiotics of violence, which again is reflected in the theme of the stories. The paper cites example of three stories which show that the violence of language is codified as the violence of the feminine on the masculine, arguing that the feminine challenges the rules, laws, and structures of language as well as life and destroys things that adheres to any strict binary form. The conflict between the rule of the Father and the lawlessness of the Mother leads to no higher synthesis—it ends in violence that refuses all routes of communication or meaning.

‘There is Nothing as Old as a Child’: Childhood and Language in Rabindranath Tagore’s The Crescent Moon

Josephine A. McQuail, Tennessee Technological University, USA

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Rabindranath Tagore was influenced by the British Romantic poets as well as by the sights, sounds and tradition of his own Bengali culture.  Tagore’s attitude to childhood is certainly similar to the adulation of the child begun as a cultural movement by the British Romantic poets. Tagore praises both the purity of the child as well as the Platonic essence of childhood in his writing on nursery rhymes. The child’s perspective is delightfully captured in his volume The Crescent Moon (1913). In a sense, through his exploration of the unconscious components of the mind of the child, Tagore in essence becomes father to himself:  his language eludes the Order typically imposed on linguistic expression in the Oedipal stage of development. Tagore’s recourse to childhood freedom arguably translated in his poetry to his radical experiment with language, which unfortunately cannot be reproduced entirely in translation.

Language Allergy: Seduction and Second Languages in How the García Girls Lost Their Accents

Juan Pablo Rivera
Westfield State College, USA

Volume 2, Number 1, 2010 I Download PDF Version

DOI: 10.21659/rupkatha.v2n2.03


This paper explores the construction of a bilingual, female, heterosexual subjectivity in Dominican-American author Julia Alvarez’s How the García Girls Lost Their Accents. The paper argues that the theoretical excesses in the narrative revolve around a bilingual difference that problematizes heterosexuality’s efforts to become a hegemonic discourse.