English Language and Literature

At its core, as advocated by the Norwegian mountaineer Arne Naess, Deep Ecology resides upon the premise of ecological wisdom, an intellectual produce that results from the amalgamation of the following three processes: deep experience, deep questioning and deep commitment. In addition, as Aldo Leopold states, the elements of 'spontaneity', with specific regard to feeling and emotion, and 'self-realisation', become indispensable catalysts for establishing that humans are the plain members of the biotic community, not superior. The premise of this paper is to apply the principles of Deep Ecology, as constituted by Naess, to the following texts: The Old Man and the Sea by Ernest Hemingway and The Last Leaf by O. Henry, in order to expostulate upon the harmonious and spiritual constructs that exist in the equation between Man and Nature, as depicted in the texts. Through the above-stated application, the paper will also attempt to establish similarity between the two, seemingly dissimilar texts, on the grounds of a recurring feature: the spontaneous nature of experiences in the lives of both the protagonists. Further, by applying the framework of Memory Studies, in tandem with the principles of Deep Ecology, this paper will also offer an insight into the significance of Memory, and the associated neurological acts of remembering and presupposition, on the realisation and construction of Man's relationship with Nature and the Environment, while placing an oblique emphasis on the implications of Ecopsychology as well, on the aforementioned relationship.

Throughout the Indian Independence Struggle, a movement that was aimed at creating a collective identity, individual identities were trapped in the cross-fire of conflict. This paper attempts to study the perpetual flux in the social, religious and national identities of an individual, an occurrence which was most noticeable as an aftermath of the Partition of 1947. In addition, the Jallianwala Bagh Massacre, an event that redefined the entire human history, will be studied from the point of view of memory and literature, with the intention to establish a connection between trauma and identity.
              This paper applies the framework of memory studies, as found in Astrid Erll’s publication ‘Memory In Culture’, to the following texts of wide-renown: ‘A Train to Pakistan’, ‘Tamas’ ,‘Those Who Crawled’ and ‘The Selected Short stories of Saadat Hasan Manto’. The motive behind examining narrative memories through Literature can be attributed to the shared heuristic triads that can be found amongst them, such as: Author/Reader and Revival. Such an examination also makes it possible to distinguish between “prosthetic memory” and “transgenerational memory”, while also providing us with a marked demarcation between the concepts of the “narrating I” and the “experiencing I”. This faculty equips us to fully understand the conflict in identity. In addition, as a means of investigating the relationship between trauma and identity, the paper applies the concept of “literary afterlives”, which propagates the re-reading, re-writing and re-mediating of identity, through the amalgamation of history, memory and literature.

In Mnemonic and Intertextual Aspects of Literature, Renate Lachmann writes: “When literature is considered in the light of memory, it appears as the mnemonic art par excellence” (301). Literature has always drawn upon memories, and memories, in turn, are immortalized in texts, as, “…Writing is both, an act of memory and a new interpretation, by which every new text is etched into memory space” (Lachmann 301). The term ‘fiction of memory’ signifies this confluence of Memory and Literature. According to Birgit Neumann, a memory scholar, the term also refers to the dual nature of fiction: “First, the phrase refers to literary, non-referential narratives that depict the workings of memory. Second, it refers to the stories that individuals or cultures tell about their past to answer the question, Who Am I?” (334). 
The intention of this paper is to establish the confluence of memory, narrative and identity in Toni Morrison’s Song of Solomon, an occurrence that would qualify it as a ‘fiction of memory’, through an in-depth exploration of the various types of memory, their workings, the processes associated with them, and their subsequent impact on the lives of the characters in the novel. In addition, the relation of memory with Names, Trauma, and Experiences will be dealt with sufficient emphasis, so as to develop the life narratives of specific characters, singling them out from the larger background of the novel. This paper will make use of the work of memory scholars across disciplines, with the most notable ones being: Astrid Erll, Jan Assmann, Aleida Assmann, Maureen Junker-Kenny, Birgit Neumann and Siegfried J. Schmidt. In addition, the paper will be obliquely based on the behavioural economist Dr. Daniel Kahneman’s work on the distinction between the two selves, the ‘remembering self’ and the ‘experiencing self’.

horrible thing to Mrs. Mallard who is suppressed in many ways. The cardiac trouble she develops can be the result of inner conflicts. Louise is killed by the shock caused by unprecedented return of her husband but the physician's report that represents the mindset of the patriarchal society claims that she died of 'joy that kills'. Mrs.Mallard's death unfolds the inability of an impounded woman whose attempt to realize her selfhood and attain liberation within a marriage are still an impossible dream for ever. Chopin, Kate (1894).

The Canadian writer Alice Munro’s short stories have long been read, interpreted, researched and re-imagined through the lens of memory and identity. Her 1999 short story, The Bear Came Over the Mountain, is an exceptionally insightful, human, and tender portrait of dementia and its effects. Instead of placing singular emphasis on the condition, Munro artistically weaves it into a vast and rich tapestry of narrative that concerns itself with the quotidian questions of identity, relationships, and desires.
As a consequence, the aim of this paper is a five-fold one. Primarily, the paper explores Munro’s The Bear Came Over the Mountain as a study of the dementia-induced mutability and forgetting that occur in the lives of Fiona and Aubrey. As an offshoot, it probes into the connection between memory, affect, and desire, while also investigating the role of intertextuality and textuality in the story. With the concept of ‘movement of memory’ as its reference, the paper also underlines the symbolic significance of the changing landscape of the characters’ memories, and its subsequent effect on the story’s structure. To conclude, the roles played by the principal ‘digital agents of memory’ - the phonograph, the answering machine, the television, to name a few - are touched upon.
To realise the aforementioned aims, the paper draws upon Memory in Culture (Erll 2011) and Cultural Memory Studies: An International and Interdisciplinary Handbook (eds. Astrid Erll and  Ansgar Nünning 2008), while also referencing the current cognitive and psychological studies in dementia - making it a cultural-cum-scientific analysis of the story.

University City Date CAPM MODEL 2 CAPM Model The Capital Asset Pricing Model is used in measuring of various portfolio performance and calculation of capital costs (Lam, 2005 pp.1). It was developed by four individuals Jack Treynor, William Sharpe, John Linter and Jan Mossin in the early sixties.

Writing in 1926, Virginia Woolf expressed a certain suspicion that, if anywhere, "the past could be unrolled, distances annihilated […] in the chaos of the streets", (1) as represented via the new medium of film. Woolf's essay conceives of cinema as an integral part of modernity, and moreover, a medium capable of presenting space and time in a novel manner true to lived experience. Her hunch was insightful then, and still echoes today in the frequent co-dependence of the metropolis and the cinema in representing the experience and manifestation of modernity and modern life.

The moment in Black Skin, White Masks where Frantz Fanon, the Martinique-born theoretician, psychiatrist and anti-colonial thinker, finds himself the object of a young white boy's horror and fascination, is an experience dizzying in loaded meaning. "'Maman, regarde le nè gre! J'ai peur!' I made up my mind to laugh myself to tears, but laughter had become impossible [...] assailed at various points, the corporeal schema crumbled, its place taken by a racial epidermal schema," 1 writes Fanon, describing an instant where his subjecthood is brushed aside for the sheer signifying power of his skin colour. The child's fearful and objectifying utterance is all the more capable of such a psychically-inflicted and -inflected blow, for it is an expression both unconscious and revelatory of vast socio-cultural layers of racialised thinking. This is a useful place from which to begin because it also demonstrates the important role of (in)visibility in the complex relations between race and subjecthood.

This article, originally published in The TLS (3 Nov 2017), will in condensed format be presented on a panel titled "Decolonising the Humanities Curriculum in the UK" at the workshop on curricular diversity hosted by The Faculty of Music, University of Oxford, on 6 June 2018.

This paper will be presented on 10 May 2019 at the 2nd Annual Conference of the Journal of Languages, Texts and Society, "
Interventions: New Perspectives on Politics, Freedom, and Democracy": https://www.nottingham.ac.uk/research/research-areas/languages-texts-society/interventions.aspx