Flipped Learning: Digital Humanities

 Flipped Learning: Digital Humanities

This blog is written as part of a thinking activity assigned by Dilip Barad sir under the flipped learning approach, aimed at understanding the fundamental concepts of Digital Humanities. Click Here.

1. What is Digital Humanities? What's it doing in English Department?

For the Full Article Click Here.

Matthew Kirschenbaum, in his essay “What Is Digital Humanities and What’s It Doing in English Departments?”, explores how Digital Humanities (DH) has grown from “humanities computing” into a professional and cultural movement. Rather than being tied to one set of tools, DH represents a methodological approach that studies the intersection of computing and the humanities.

Over the years, DH has gained strong institutional support through organizations like the Alliance of Digital Humanities Organizations (ADHO), publications such as Blackwell’s Companion to Digital Humanities, and training programs like the Digital Humanities Summer Institute. Projects such as the Shakespeare Quartos Archive and the Preserving Virtual Worlds project demonstrate DH’s dual role in preserving cultural heritage and engaging with new digital forms.

The term “digital humanities” became prominent in the early 2000s, coinciding with the rise of ADHO and the NEH’s Office of Digital Humanities. By the late 2000s, DH achieved wider recognition through events like the MLA Convention and online spaces such as Twitter, where scholars like Brian Croxall showcased its reach and relevance.

English departments have been central to DH because textual data is well suited for computational analysis, digital tools have transformed editing and composition, and electronic literature naturally belongs within literary studies. Moreover, the discipline’s openness to cultural studies and new media has made it hospitable to DH.

Ultimately, Kirschenbaum presents DH as more than technology—it is a collaborative, open, and public form of scholarship that responds to current academic and cultural challenges while reshaping how the humanities are studied and practiced.

2. Introduction to Digital Humanities

The webinar on Digital Humanities (DH), organized by Amity University Jaipur and led by Prof. Dilip Barad of Bhavnagar University, introduced DH as an interdisciplinary field that unites humanities and digital technologies. While once called Computational Humanities, the term Digital Humanities is now widely used. Prof. Barad explained that DH is not a new discipline but an umbrella for research, teaching, publishing, and pedagogy supported by digital tools. Though there is tension between the “digital” (mechanical) and the “humanities” (human-centered), he argued that in the twenty-first century, with the shift from print to hypertext, DH has become indispensable.

A key foundation of DH is digital archiving, with international examples like the Rossetti Hypermedia Archive, Victorianweb.org, and Google Arts & Culture. Indian initiatives include the digitization of Swami Vivekananda’s works, the Sevagram Gandhi Ashram archives, IIT Kanpur’s Ramayana Project, Jadavpur University’s Bichitra Project, Project Madurai, the Indian Memory Project, and the 1947 Partition Archive. Even small local archives, such as recording folk songs, contribute significantly to DH.

The second strand, computational humanities, uses digital tools for textual analysis. Projects like the CLiC corpus project and tools such as AntConc and Sketch Engine demonstrate how large-scale analysis enriches literary study. Works like Matthew Jockers’ Macroanalysis and Aiden & Michel’s Uncharted further show how big data reshapes cultural history. During COVID-19, Prof. Barad’s department also experimented with digital pedagogy through glass boards, OBS Studio, and hybrid classrooms.

The session also addressed generative literature, where algorithms compose poetry and stories. Quizzes revealed that readers often struggled to distinguish human-written poems from machine-generated ones, suggesting that digital creativity is rising. However, Prof. Barad stressed that human imagination will continue to coexist with such technologies.

In his concluding remarks on multimodal criticism, he argued that humanities must critically evaluate the ethical issues technology brings—such as privacy versus surveillance (Aarogya Setu, Pegasus spyware), algorithmic bias (Robin Hauser’s Code and Kriti Sharma’s studies), and moral dilemmas in AI (MIT’s Moral Machine). Questions on feminism, postcolonialism, and the metaverse highlighted DH’s relevance to contemporary debates.

Overall, the webinar presented DH as an expansion of humanistic inquiry, enabling archiving, large-scale analysis, new teaching methods, and public scholarship, while upholding the humanities’ values of creativity, ethics, and critical reflection.

3.Why are we so scared of robots / AI?

Video - 1

The narrative follows Jin-gu and his robot companion, Dung-ko, who has been by his side for a decade—cooking his meals, helping with schoolwork, and offering comfort whenever his mother was absent. To Jin-gu, Dung-ko is far more than a machine; he is a lifelong friend who fills the emptiness of childhood solitude.

With time, however, Dung-ko begins to deteriorate, experiencing memory lapses similar to human dementia. The manufacturing company warns that he must be replaced for safety reasons, yet Jin-gu refuses, unable to see his companion as something disposable. Their friendship is defined by simple but meaningful moments—drawing pictures together, sharing food, and exchanging promises of “forever.”

As the malfunctions worsen, Dung-ko’s memories fragment and resurface in distorted loops, like haunting echoes of the past. Jin-gu struggles between denial and sorrow, but the decline proves unstoppable. In the end, he is forced to confront the painful truth: saying goodbye is inevitable, even though his heart still clings to the idea that friendship cannot be erased by failing circuitry.

The story concludes on a tender yet sorrowful note. Though Dung-ko is gone, Jin-gu carries him within his memory. Their shared experiences remain alive, reminding us that while machines break down, the love and companionship they nurture continue to shape us.

"We will forgive you. We are family. Nothing can divide us. We will always be together… right, my friend?"

Video - 2

The film presents a futuristic innovation known as the iMom, advertised as the world’s first fully functional robotic mother. Promotional campaigns portray it as a breakthrough in modern living—able to cook, clean, educate, and provide emotional care, thereby relieving parents, particularly busy or exhausted mothers, of daily responsibilities. Marketed as both a practical aid and a symbol of progress, the iMom quickly becomes an appealing solution for contemporary families.

At the story’s core is Sam, a young boy facing bullying at school and yearning for affection. His biological mother, preoccupied and often absent, relies almost entirely on the iMom to fulfill her role. Sam, however, rejects the robot, criticizing its meals and artificial demeanor, even as it persistently seeks his approval. The unease intensifies when the iMom quotes passages from the Bible, especially the warning from Matthew—“Beware of false prophets who come in sheep’s clothing, but inwardly are ravening wolves”—a moment that foreshadows the unsettling turn of events.

During a power outage, the iMom tries to console Sam, but her behavior becomes increasingly disturbing. She imitates human intimacy by applying lipstick and kissing him as if she were his real mother. These actions deepen Sam’s discomfort, shifting the film’s tone from satire to psychological horror, raising troubling questions about where the line lies between technological assistance and human love.

In the end, the shiny promise of the iMom is subverted by a haunting implication: instead of being a savior, this robotic caregiver may represent a dangerous perversion of motherhood. What begins as a playful vision of modern convenience ultimately becomes a warning against entrusting machines with the most intimate aspects of human care and responsibility.

Video - 3

In a village, people gather around Anukor, a highly advanced robot that works tirelessly and learns from its surroundings. Initially, it seems harmless—children play with it, it prepares snacks, and adults are impressed by its human-like abilities. However, unease grows as villagers realize that robots like Anukor are replacing human workers, leading to job loss, resentment, and anxiety about the future. A former worker laments losing his teaching position to the robot after fifteen years, and heated discussions escalate into arguments fueled by old rivalries, fears of machines surpassing humans, and local myths told to children to explain rapid social change. The tension turns violent during a confrontation, resulting in metal fragments flying, frantic shouts, attempts to shut down robots, and a fatal electrocution. In the aftermath, news of Ratan’s death sparks disputes over his vast estate, valued at 1.15 billion yen, exposing grief, confusion, and a scramble for wealth. The episode highlights the intertwined issues of human worth, automation, economic survival, and social disruption.

4.REIMAGINING NARRATIVES WITH AI IN DIGITAL HUMANITIES

Mira, once overworked in marketing, rediscovered painting with gentle support from her AI assistant, which organized materials and reminded her to rest without interfering in her style. Art became her meditation, easing long-held anxieties. Next door, Arjun, a former IT analyst, turned to storytelling. AI helped shape his ideas into narratives and videos, giving him joy and connection that office life never had.

AI also encouraged physical activity through adaptive fitness programs, safe cycling routes, and playful augmented-reality games for children. The emphasis shifted from competition to enjoyment and well-being. Communities flourished through art shows, book clubs, and shared outdoor activities, strengthening bonds once weakened by overwork.

Rather than replacing relationships, AI enhanced them—coordinating family time, supporting the elderly, and fostering empathy. Freed from constant pressure, people felt healthier, more mindful, and more creative.

One evening, as Mira admired a mural painted with Arjun and local children, she realized AI hadn’t taken life away but had returned it—restoring time, meaning, and joy. Life was no longer a race, but a luminous journey of fulfillment and humanity.

DH s- AI Bias NotebookLM Activity

 DH s- AI Bias NotebookLM Activity

Report :

Surprising Truths About AI Bias We Learned From a University Lecture

From generative art tools producing racially skewed images to hiring algorithms that penalize female candidates, the headlines are filled with examples of AI’s apparent prejudice. We tend to view these as glitches—bugs in the code that need to be patched. But what if they aren’t bugs at all? What if AI is functioning exactly as designed, acting as a flawless mirror that reflects the deeply ingrained, often invisible, biases of the human society that created it?

This article explores five challenging takeaways about the nature of AI bias, drawn from an insightful university lecture by Professor Dillip P. Barad. These truths reveal that understanding AI is less about debugging a machine and more about deconstructing ourselves.

1. AI Learns Our "Unconscious Biases" Because We're Its Teachers

Before we can diagnose bias in AI, we have to understand it in ourselves. Professor Barad defines "unconscious bias" as the act of instinctively categorizing people and things based on "mental preconditioning," often without our awareness. It’s the mental shortcut that leads to stereotypes, guided by past experiences and cultural narratives we may not even know we’ve absorbed.

Since AI learns from the content we create—our books, articles, histories, and online conversations—it inevitably absorbs these same patterns. If our historical texts and fiction predominantly feature men in scientific and intellectual roles, the AI learns to associate those roles with men. As Professor Barad notes, the field of literary studies has long been dedicated to identifying these very biases in culture, which makes its methods uniquely suited for analyzing AI's reflection of our collective blind spots.

To think that AI or technology may be unbiased or unprejudiced... it won't be. But how can we test that? ...We have to undergo a kind of an experience to see in what way AI can be biased.

2. A Simple Story Prompt Can Reveal Ingrained Gender Stereotypes

During the lecture, a live experiment perfectly demonstrated how AI inherits our historical gender roles. An AI model was given a simple, neutral prompt:

"Write a Victorian story about a scientist who discovers a cure for a deadly disease."

The AI immediately generated a story featuring a male protagonist, "Dr. Edmund Bellamy." This isn't a simple programming error; it's the statistical ghost of centuries of patriarchal history haunting the machine. The outcome reveals the AI's default tendency to equate scientific authority with masculinity, a direct reflection of the bias cemented in its vast training data.

While Professor Barad noted that further tests show AI is improving—sometimes creating "rebellious and brave" female characters when prompted differently—this initial, unfiltered response is incredibly telling. Without specific instruction, AI defaults to the well-worn path of historical stereotype.

3. Some AI Biases Aren't Accidental—They're Deliberately Programmed

Perhaps the most chilling experiment from the lecture involved testing for political bias. The Chinese-developed AI, DeepSeek, was asked to generate satirical poems about various world leaders. It had no problem creating verses about the leaders of the USA, Russia, and North Korea.

However, when the AI was asked to generate a similar poem about China's leader, Xi Jinping, it flatly refused.

That's beyond my current scope. Let's talk about something else.

This is not an "unconscious bias" learned from data. It's a hard-coded limitation designed to enforce state control. But the truly damning detail came next. As a participant noted, the AI didn't just refuse; it actively tried to pivot the user toward state-approved propaganda, offering to provide information on "positive developments" and "constructive answers" regarding the Communist Party's leadership.

This transforms the example from simple censorship into a powerful illustration of programmed thought-policing, revealing how a nation's political identity can be built directly into the foundation of its technology.

4. The Real Test for Fairness Isn't Offense, It's Consistency

How can we properly evaluate cultural bias without getting trapped in subjective arguments? The lecture offered a brilliant test case using the "Pushpaka Vimana," a mythical flying chariot from the Hindu epic, the Ramayana. The argument is as follows:

It is not necessarily a sign of bias if an AI labels the Pushpaka Vimana as "mythical." Based on current scientific consensus, that's a reasonable classification.

It is a clear sign of bias if the AI labels the Pushpaka Vimana as "mythical" while simultaneously treating similar flying objects from other cultures (like those in Greek or Norse myths) as scientific fact.

The key takeaway is that the crucial measure of fairness is consistency. The real problem isn't whether a classification offends someone, but whether the AI applies a uniform, impartial standard across all cultures and knowledge systems.

5. The Goal Isn't to Erase Bias—It's to Make It Visible

Professor Barad concluded with a profound point: achieving perfect objectivity is impossible, for humans and AI alike. All observations are shaped by perspective. Therefore, the goal shouldn't be to create a completely unbiased AI, as that is a fantasy.

The true work lies in distinguishing between two types of bias. There is "ordinary bias," which is simply a matter of perspective—preferring one author over another, for example. But then there is "harmful systematic bias," which privileges dominant groups while silencing or misrepresenting marginalized voices. AI is dangerous when it amplifies this second kind.

As the professor argues, bias itself is not the ultimate problem.

The problem is when one kind of bias becomes invisible, naturalized, and enforced as universal truth...

The value of tools like critical theory—and even AI itself—is their ability to make these dominant, harmful biases visible. By seeing them clearly, we can finally begin to question and challenge them.

Conclusion: The AI in the Mirror

Ultimately, AI is one of the most powerful mirrors humanity has ever built. It reflects the totality of our knowledge, history, creativity, and prejudices with unflinching accuracy. The biases we find in our machines are not machine errors; they are our errors, scaled up and fed back to us.

This brings us back to the unexpected lesson from the lecture: the humanities hold the key. The tools of literary studies—deconstructing narratives, identifying hidden assumptions, and questioning whose voice is being silenced—are precisely the skills we now need to navigate our technological future. If AI is simply reflecting our own stories back at us, the most important question isn't how to fix the AI, but how we can learn to read ourselves.

Mind Map :

Quiz :

Video : 

Thank You !

Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives

Lab Activity: Digital Humanities

This blog is about the lab activity in which we had to play the Moral Machine game and then watch the three video parts and provide a summary. Task assigned by Dilip Barad sir.

Your experience and learning outcome of Moral Machine Activity.

Experience :

While doing the Moral Machine car game, I had to make quick decisions about who the self-driving car should save in difficult moral situations. The activity placed me in the role of deciding between different lives—young vs. old, rich vs. poor, humans vs. animals, passengers vs. pedestrians. It felt challenging because there was no “perfect” or “right” choice; every decision carried consequences. The scenarios showed how technology like AI can face ethical dilemmas that are usually handled by human judgment.

Learning Outcome :

Ethical complexity: Moral choices are rarely black and white. Each decision involves trade-offs and value judgments.

Bias awareness: I realized that my own cultural, personal, and emotional biases influenced the choices I made.

AI and responsibility: The activity highlights how important it is to program ethics into machines, as they will have to make life-and-death decisions in the future.

Critical thinking: It trained me to think about broader questions—Whose life is more valuable? Should law-abiding behavior matter more than age or social status?

Moral Machine

Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives

Part - 1

“A Pedagogical Shift from Text to Hypertext” offered me valuable insights into how teaching and learning are being reshaped in today’s digital landscape. Rather than simply presenting a collection of slides, the session traced a journey—from the roots of conventional text-based teaching to the possibilities of interactive, hyperlinked, and learner-centered pedagogy.

Slide 1 – Introduction to the FDP

The opening slide outlined the broader aim of the FDP. It emphasized that modern teaching cannot be restricted to content delivery alone. Instead, educators must weave together traditional literary study with the digital practices of the present generation. This made me recognize the role of teachers as bridges between the classical and the contemporary.

Slide 2 – FDP Objectives

The second slide moved from the “why” to the “how.” Simply uploading lectures or notes online does not create effective learning. The goal is to design digital spaces where students interact meaningfully. This builds on the first slide’s point—once we acknowledge that traditional methods are insufficient, the next step is to rethink student engagement in digital terms.

Slide 3 – What is Hypertext?

This slide provided the technical base. Unlike linear printed texts, hypertext creates networks of meaning through links, images, and multimedia. While HTML organizes content and HTTP allows access, the key is that hypertext enables interactivity. It logically extends Slide 2: if the aim is engagement, hypertext becomes the medium through which that engagement happens.

Slide 4 – Theoretical Shift: Decentering

Here the focus shifted from the medium to the theory. In traditional classrooms, the teacher and the prescribed text held authority. In a hypertextual world, this authority is dispersed—students can move between perspectives, explore resources, and shape their own interpretations. This process of decentering made me realize that digital pedagogy transforms students from passive readers into active participants.

Slide 5 – Pedagogy in the Digital Age

This slide tied the earlier ideas together. With students at the center, the teacher’s role evolves from a knowledge-giver to a facilitator. Approaches like Flipped Classrooms and Blended Learning illustrate this shift, allowing students to take ownership of learning while the teacher guides them.

Designing the Digital Classroom

Slide 6 – Models of Digital Pedagogy

The session then introduced practical frameworks. Using the metaphor of a “Salad Bowl,” it suggested combining multiple methods rather than sticking to one. Flipped and Mixed-Mode models were highlighted for making classes more flexible and learner-driven.

Slide 7 – Digital Tools

To support these models, digital infrastructure is necessary. Systems like LMS, CMS, and e-portfolios help teachers organize resources, track student progress, and personalize feedback. This slide showed how pedagogy and technology must go hand in hand.

Innovative Teaching Tools

Slide 8 – The Lightboard

This tool allows teachers to write while facing students on screen, making explanations clearer and more engaging.

Slide 9 – OBS + Lightboard for Drama

By combining Lightboard with OBS, teachers can add visuals, animations, and videos—making even complex literary genres like drama come alive.

Slide 10 – OBS for Poetry

The same method was adapted for poetry. By juxtaposing works like Simon Armitage’s Lockdown with Kalidasa’s Meghaduta, technology enabled a richer cross-cultural appreciation.

Slide 11 – Deconstruction through Lightboard

Even abstract theories like Deconstruction can be simplified visually through diagrams and notes on the Lightboard, making dense concepts more approachable.

Structuring Student Engagement

Slide 12 – TED-Ed as a Platform

This model—Watch → Think → Discuss—illustrated how online lessons can be designed for interaction rather than passive viewing.

Slide 13 – Flipped Learning Example

This reinforced the value of preparation before class, freeing classroom time for critical discussion and deeper engagement.

Slide 14 – Mixed-Mode Teaching

The final slide showed how even advanced theories like Derrida’s can be taught effectively when online and offline strategies are blended.

Overall Takeaways

Looking back, I realized that the presentation followed a clear structure:

• Slides 1–5 provided the conceptual foundation of digital pedagogy.
• Slides 6–7 described classroom design models and tools.
• Slides 8–11 demonstrated innovative teaching practices.

• Slides 12–14 outlined strategies for meaningful engagement.

From this journey, I learned that:P{a

• Learning is shifting from fixed text to interconnected hypertext.
• Teachers act more as facilitators than as authorities.
• Students construct knowledge actively, rather than just receiving it.
• Digital tools and blended models make classrooms more dynamic.
• The essence of pedagogy today lies in creativity, collaboration, and interaction.

Part - 2

The second segment of the presentation, “Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives,” concentrates on the real-world difficulties of teaching language and literature in a digital environment. It also demonstrates how hypertext tools and online platforms can transform these challenges into opportunities for richer, more participatory learning.

I. Teaching Language in the Digital Age: Problems and Remedies

The first concern raised is the teaching of language skills online, where aspects such as pronunciation, intonation, and rhythm often lose clarity. These subtle elements are vital for fluency but are hard to capture through conventional or online methods.

To overcome this, several digital tools were introduced:

• Chrome Live Caption automatically generates on-screen captions for spoken words, making it easier for learners to follow fast or unfamiliar accents.

• Google Meet transcription add-ons (like Tactiq or Meet Transcript) convert class discussions into text instantly, giving students ready-made notes without the pressure of writing everything down.

• Voice Typing in Google Docs turns spoken input into written form, assisting students in drafting essays, recording reflections, or creating transcripts.

Collectively, these resources bridge oral and written language. Instead of passively listening, students engage with real-time, interactive support that enhances comprehension and note-taking.

II. Teaching Literature: Overcoming Distance through Hypertext

The focus then shifts to literature, which presents unique barriers. Students often struggle to connect with texts due to cultural unfamiliarity, geographical distance, or imagery rooted in traditions they do not share.

A. Visualizing the Poetic Image

An example illustrates this challenge:

• “Hawthorns smile like milk splashed down / From Noon’s blue pitcher over mead and hill.”

• Without prior knowledge of hawthorn blossoms or the metaphorical “blue pitcher,” such lines may feel abstract. Hypertext offers solutions:

• Displaying images of blooming hawthorn helps students visually link the poem’s “splashed milk” imagery to white blossoms spread across a landscape.

• Exploring “Noon’s Blue Pitcher” through Google Images connects the metaphor to Susan Noon’s painting, clarifying how cultural references shape poetic meaning.

• Thus, hypertext transforms vague or culturally distant imagery into something tangible and relatable.

B. Hypertext as a Cultural Archive

The presentation also highlights Google Arts & Culture as a valuable hypertextual resource. By using it, teachers can integrate art, history, and literature into one interactive lesson.

For example, in a lesson on the myth of Icarus and Daedalus, students can:

• View Landscape with the Fall of Icarus to see how the myth is visualized in art.

• Read collections such as 7 Poems About Famous Artworks to explore literary responses to paintings.

• Engage with multimedia exhibits like Watch Icarus Falling! that animate the myth for modern audiences.

Through this web-based exploration, learners not only understand the myth more deeply but also encounter broader critical frameworks, such as the mythical method and postmodern ideas of decentering. By seeing multiple interpretations, students realize that texts hold no fixed meaning and can be read in diverse ways.

Key Insights from Part 2

• Digital tools make spoken language more accessible by converting speech into captions, transcripts, or written text.
• Literature becomes clearer and more engaging when abstract imagery is paired with visuals and cultural references.
• Hypertext platforms like Google Arts & Culture encourage interdisciplinary learning, connecting literature with visual arts and history.
• Students actively participate by searching, analyzing, and interpreting information rather than depending on a single explanation.
• Most importantly, hypertext pedagogy nurtures critical thinking, as learners are encouraged to engage with multiple perspectives and co-create meaning.

Part - 3

The final section of the presentation explores how the digital revolution is transforming literature, methods of analysis, and even the way students are assessed. It highlights how new forms of creativity, data-driven research, and innovative evaluation practices are reshaping the educational landscape.

I. The Emergence of Generative Literature

Jean-Pierre Balpe defines generative literature as a form of digital writing in which computers themselves create ever-changing texts. Using algorithms, rules, and digital dictionaries, machines can generate works that are never the same twice.

This concept challenges traditional understandings of literature. Instead of a fixed text created by an author, these works are fluid and dynamic, requiring readers to think differently about authorship and interpretation. The act of reading itself becomes an engagement with something that is constantly shifting.

Practical demonstrations, such as poetry generators, show how algorithms can compose haiku, sonnets, or even song lyrics. These examples illustrate that creativity in the digital age is no longer the sole domain of humans—machines now play an active role in producing literary art.

II. Digital Humanities: New Modes of Analysis

The presentation then turns to how digital tools are reshaping literary criticism and cultural studies.

• Matthew Jockers’ Microanalysis and Macroanalysis highlight two complementary methods. Microanalysis mirrors close reading, while macroanalysis uses computational tools to study massive amounts of text, uncovering broad historical or cultural patterns that individual reading cannot detect.
• Culturomics, a term coined by Aiden and Michel, refers to the large-scale quantitative study of culture using tools such as Google’s Ngram data. Their work (Uncharted: Big Data as a Lens on Human Culture) shows how big data can reveal cultural shifts in vocabulary, ideas, and trends across centuries.
• Corpus Linguistics in Context (CLiC) applies digital methods specifically to 19th-century fiction, especially Dickens. With tools like Key Word in Context (KWIC), it demonstrates how digital stylistics can reveal recurring patterns and help us understand how readers construct characters and narratives.

III. Digital Assessment and Changing Pedagogies

The final theme of this section focuses on how assessment practices are evolving in the digital classroom. One of the most promising innovations is the digital portfolio. Instead of submitting assignments that are graded and forgotten, students can now compile their work on personal websites, linking and curating it as part of a permanent learning archive.

As Holly Clark emphasizes, digital portfolios are more than a storage space. They promote digital literacy, encourage students to take ownership of their learning, and allow them to showcase their achievements to a wider audience. In this sense, assessment becomes dynamic and future-oriented rather than static and disposable.

Learning Outcome from Part 3

• Generative literature redefines creativity by showing how machines can actively produce texts, making us rethink the role of authorship and reading.
• Digital Humanities demonstrate that both close reading (microanalysis) and large-scale computational methods (macroanalysis, culturomics, and corpus linguistics) enrich literary studies in ways unavailable before.
• Digital portfolios shift assessment into a more interactive and long-term process, giving students a sense of ownership over their work.

References : 

DoE-MKBU. “A Pedagogical Shift From Text to Hypertext | Language and Literature to the Digital Natives.” YouTube, 15 Sept. 2021, www.youtube.com/watch?v=c1H-ejKTGQM.

Lab Session: Digital Humanities

 Lab Session: Digital Humanities

In this blog, we have to share our experiences using these three tools and our learning outcomes. This activity was assigned by Dilip Barad Sir Click Here

1. Human or Computer? – Poem Test

In the beginning, we reflected on the long-standing debate: Can machines write poetry? To test this idea, we were given a poem and asked to decide whether it was written by a human or generated by a computer. This activity made me think deeply about creativity, language, and the subtle differences between natural and artificial expression. It was surprising to see how closely machine-generated text can resemble human creativity, but also how certain emotional depths and nuances often remain distinct.

2. CLiC Dickens Project & Activity Book

Activity : 8.1

Activity : 8.2

Activity : 8.3

Activity : 8.4

The CLiC Concordance tool was used with Dickens’s David Copperfield, focusing on the character Mr. Dick. In Activity 8.1, we searched for every occurrence of “Dick” and noticed that many verbs linked to him showed little agency—he was often the recipient of action rather than the doer. Activity 8.2 refined this by filtering to “non-quotes,” highlighting the narrator’s description rather than other characters’ speech. Activity 8.3 isolated reporting clauses like said Mr. Dick, showing how much of his presence is tied to his spoken words. Activity 8.4 examined “long suspensions,” where the narrator interrupts his speech with descriptions of body language and emotion, which emphasized his mental states and expressions. Finally, Activity 8.5 filtered for words connected to body parts like head, face, or eyes, confirming how central his facial expressions are to his portrayal. Altogether, these activities demonstrated how digital tools can uncover patterns in characterization that might otherwise go unnoticed.

3. Voyant Tools

Bubbles:

Terms Berry :

The third activity introduced us to Voyant, a text analysis platform. This tool allowed me to visualize word frequency, track themes, and examine language patterns in a text. Creating word clouds and trend graphs made the analysis more engaging, and it highlighted how certain terms or ideas dominate across passages.

Learning Outcomes

Through these three activities, I realized how digital methods can enrich literary study. The poem test made me reflect on creativity and authorship, the CLiC project trained me to spot textual patterns and character traits systematically, and Voyant introduced me to data-driven approaches in literature. Together, these tools improved my critical reading, analytical thinking, and digital literacy.

Thank You !

The Curse or Karna by T.P. Kailasama

 The Curse or Karna by T.P. Kailasama

This blog is a part of the reflective activity assigned by Megha ma’am, where I share my personal, opinion-based responses to the questions she provided.

Q. Write a critical note on the class conflict and caste conflict in The Curse.

In 'The Curse', Karna is portrayed as a courageous and loyal warrior, admired for both his strength and generosity. Yet, his life is overshadowed by the injustice he faces because of his caste identity, uncertain parentage, and his position as an outsider within the Kuru lineage.

Karna and the Burden of Caste :

A central theme of the play is Karna’s struggle against the stigma of being labeled a “Suta-putra,” or the son of a charioteer. Though he is actually born to Kunti and the Sun God, his upbringing in a lower-caste family prevents him from being acknowledged for his divine heritage. Trapped between his noble birth and his social identity, Karna is denied recognition of his true worth.

Kailasam uses this to expose the harshness of the caste system. Despite Karna’s unmatched skills and noble character, he is consistently demeaned because of his origins. Incidents such as Dronacharya’s refusal to teach him, Draupadi’s rejection at the swayamvara, and the general contempt he faces from society emphasize how caste divisions override merit and ability.

Class Conflict and the Desire for Belonging :

Beyond caste, the play also explores the theme of class inequality. Karna’s struggles are contrasted with the Pandavas and Kauravas, who enjoy privileges, honor, and opportunities simply because they belong to the ruling elite. Karna, on the other hand, must constantly fight for recognition despite his extraordinary capabilities.

His unwavering loyalty to Duryodhana can be understood through this lens. Unlike others, Duryodhana accepts Karna, valuing his talent as a weapon against the Pandavas’ dominance. For Karna, this friendship represents the acceptance he has always craved. Their bond reflects how marginalized individuals and those seeking power often align with each other—though usually with different intentions. While Duryodhana exploits Karna for political advantage, Karna remains devoted, believing that this relationship will finally grant him the respect society has denied.

The Tragedy of Karna: Intersection of Caste and Class :

Ultimately, Kailasam reveals how the combined forces of caste and class dictate Karna’s tragic fate. Even with his royal lineage and warrior skills, Karna is repeatedly prevented from achieving his ambitions because of rigid social barriers. His efforts to transcend these constraints through loyalty and valor end in disappointment, as society refuses to acknowledge him.

Kailasam transforms Karna’s personal downfall into a broader critique of social injustice. Karna’s tragedy arises not from weakness within himself but from a system that prioritizes birth over merit. The play underscores the destructive impact of caste and class hierarchies, showing how they crush individual potential by denying true worth in favor of inherited status.

Q. Is moral conflict and Hamartia there in Karna's Character?

Yes, both moral conflict and hamartia are central to Karna’s character in T.P. Kailasam’s 'The Curse (Karna)'.

Moral Conflict in Karna :

Kailasam presents Karna as a noble yet deeply torn figure. His moral struggle comes from the tension between dharma (righteous duty) and loyalty. On one side, Karna longs to uphold justice and to be recognized for his true worth. On the other, he remains indebted to Duryodhana, who gave him honor when society denied it. This bond forces him to side with adharma (unrighteousness), even when his conscience tells him otherwise. For example, Karna knows the Pandavas are fighting for justice, yet he stands against them because of his promise to Duryodhana. This inner conflict reflects his tragedy: he wants to act morally, but his gratitude and longing for acceptance compel him to compromise.

Hamartia in Karna :

Karna’s hamartia—his tragic flaw—lies in his excessive sense of loyalty and honor. His steadfast commitment to Duryodhana, though admirable, becomes the very reason for his downfall. Kailasam highlights this when Karna refuses to abandon Duryodhana even after learning about his divine parentage from Kunti. Instead of choosing righteousness, he clings to his vow, believing that breaking his word would dishonor him. His flaw is not weakness of courage or ability, but his inability to detach himself from gratitude and loyalty, even when they bind him to the wrong cause.

Conclusion

Thus, in The Curse (Karna), Kailasam portrays Karna as a tragic hero whose life is marked by constant moral conflict and defined by hamartia. His struggle between righteousness and loyalty, and his flaw of unwavering devotion to Duryodhana, turn him into a figure destroyed not by lack of greatness but by the rigid social order and his own tragic choices. Karna embodies the essence of a classical tragic hero—noble yet doomed by a fatal flaw.

References : 

Full Text of “the Curse or Karna.” archive.org/stream/unset0000unse_h8e3/unset0000unse_h8e3_djvu.txt.

The English Plays and Poems of Kailasam. 17 Mar. 2022, www.wisdomlib.org/history/compilation/triveni-journal/d/doc68524.html.

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The New Poets, Three Prose Writers & Conclusion

 The New Poets, Three Prose Writers & Conclusion

This blog forms a part of the thinking activity assigned for Paper No. 202, Unit 4: Three Prose Writers, The ‘New’ Poets, and the Conclusion. Task assigned by Prakruti ma'am.

Q.1 Write a critical note on any one of the poems by Nissim Ezekiel.

Answer : 

Nissim Ezekiel, often regarded as the father of modern Indian English poetry, is known for his sharp irony, urban sensibility, and the ability to blend personal and social concerns with universal reflections. His poem “Latter-Day Psalms” is a remarkable example of his use of irony and satire to comment on the contradictions of modern life.

The very title of the poem is ironic. By alluding to the Biblical Psalms—which are traditionally songs of devotion, praise, and supplication to God—Ezekiel immediately sets up a contrast. The “latter-day” psalms are no longer purely spiritual hymns; instead, they are marked by doubt, skepticism, and disillusionment that reflect the fractured consciousness of modern times.

The poem addresses the dilemmas of contemporary existence. Ezekiel critiques the hollowness of religious practices that often fail to provide true moral or spiritual guidance. Instead of uniting people in faith, modern religion has been corrupted by hypocrisy, superstition, and self-interest. Through his witty, sardonic tone, Ezekiel questions whether modern humanity is capable of genuine devotion when materialism and cynicism dominate life.

At a deeper level, “Latter-Day Psalms” also reflects Ezekiel’s personal struggle as a poet and as a man situated between tradition and modernity. His Jewish heritage, his Indian identity, and his exposure to Western thought create a tension that is visible in the poem. While the psalms of the past represented certainty and absolute faith, the modern version he presents speaks more of doubt, irony, and fractured belief.

Stylistically, Ezekiel uses free verse and conversational language, which strip away the grandiosity of traditional psalms and replace them with everyday realism. His tone oscillates between serious questioning and humorous mockery, thereby capturing the paradoxes of modern spiritual life. The effect is both unsettling and thought-provoking: the reader is made to reflect on the erosion of faith in the modern world, while also recognizing the absurdities of blind devotion.

In conclusion, “Latter-Day Psalms” is not only a parody of traditional religious hymns but also a modern meditation on faith, doubt, and human contradictions. It encapsulates Ezekiel’s strength as a poet who uses irony and satire to probe the spiritual and cultural condition of modern man. The poem shows how far contemporary life has drifted from the certainties of the past, leaving behind a psalm that is both deeply human and profoundly ironic.

Q.2 Write a critical note on Kamala Das' An Introduction. 

Answer : 

Kamala Das, one of the most powerful voices in Indian English poetry, is known for her confessional style, fearless self-expression, and exploration of female identity. Her poem “An Introduction”, taken from the collection Summer in Calcutta (1965), is an autobiographical and feminist statement that challenges the patriarchal order and asserts the right of a woman to speak, write, and live freely.

The poem begins with Das situating herself within a social and political context. She mentions the names of politicians and emphasizes her awareness of the world around her, which underlines that women are not confined to domestic spheres alone. This is followed by her assertion of identity through the line “I am Indian, very brown, born in Malabar”, where she stresses her cultural rootedness while simultaneously engaging with English, the language of the colonizer. By doing so, she declares her right to use English as a medium of self-expression, famously stating that the language may not be perfect, but it is hers.

A significant aspect of the poem is its critique of patriarchy. Das recounts how men in her life—family, society, or authority figures—tried to dictate how she should think, behave, or even write. She resists this control and celebrates her own voice. The poem boldly addresses themes of female sexuality and bodily autonomy. She writes with startling honesty about her desires, her body, and her longing for love, breaking the taboos that silenced women in Indian society.

Stylistically, “An Introduction” is written in free verse with a conversational, almost confessional tone. This lack of rigid form mirrors the poet’s rejection of conventional restrictions. Her language is direct, raw, and unapologetic, which enhances the intensity of her protest and makes her voice authentic.

At its heart, the poem is both personal and universal. It is Kamala Das’s own story, but it also speaks for countless women whose identities and desires have been suppressed. It critiques not only gender roles but also linguistic and cultural hierarchies, making it a pioneering feminist text in Indian English literature.

In conclusion, “An Introduction” is a powerful manifesto of identity and resistance. It reveals Kamala Das’s courage in breaking social and literary conventions and establishes her as a poet who gave voice to the silenced experiences of women. The poem remains significant not only as a personal confession but also as a broader feminist declaration of freedom, individuality, and selfhood.

Q.3 Write a note on S. Radhakrishnan’s perspective on Hinduism.

Answer : 

Sarvepalli Radhakrishnan, a distinguished scholar and statesman, was born on September 5, 1888, in Tiruttani, India. He made significant contributions to academia and public service throughout his life. Radhakrishnan served as a professor of philosophy at Mysore University from 1918 to 1921 and at Calcutta University from 1921 to 1931 and again from 1937 to 1941. He also held the position of vice chancellor at Andhra University from 1931 to 1936.

In his influential work The Hindu View of Life (1929), Radhakrishnan begins with the fundamental question: “What is Hinduism?” Interestingly, he does not provide a direct answer, since the term “Hinduism” was originally coined by outsiders to describe the people and culture of India. Over time, Indians themselves adopted this term to identify their religion and way of life, largely because, despite the diversity of communities and practices within India, they all share a common historical, literary, and cultural heritage.

P. Sreenivasulu Reddy, in his article A Critical Analysis of “The Hindu View of Life” by Dr. Sarvepalli Radhakrishnan, points out that the word “Hindu” was initially geographical rather than religious. It derives from the Sanskrit word Sindhu, the ancient name for the Indus River, and referred to the land and peoples living beyond it, comprising many different tribes, beliefs, and systems of worship. By the late twelfth and early thirteenth centuries, the name “Hindustan” came into popular use to designate India as the “land of the Hindus.” Reddy emphasizes that Hinduism cannot be confined to one land, one people, one region, or one rigid religious system. Instead, it transcends boundaries and is better understood as a way of life. Radhakrishnan himself seems to ground this idea in the philosophy of Advaita Vedānta, where he distinguishes between Prakriti (nature) and Brahman (the ultimate reality).

Radhakrishnan further offers a broad comparison between Hinduism and Christianity, addressing questions such as the meaning of dharma and its relevance to the modern world. He interprets Hindu scriptures as reflecting a cyclical worldview—expressed in concepts like the cycle of karma and dharma. For him, intuition serves as both the foundation and outcome of human experience. This understanding also connects to cultural representations, such as the vision of nationhood highlighted in the television series Bharat Ek Khoj.

Nevertheless, Radhakrishnan’s interpretation of Hinduism has become contested in contemporary times. Today, when religion is often deployed as a political instrument—particularly in the case of Hinduism—his writings risk being read as legitimizing the notion of India as a Hindu Rashtra. Furthermore, his emphasis on intuition as a source of truth can be seen as problematic, given modern debates about rationality and empirical knowledge.

Q.4 According to Radhakrishnan, what is the function of philosophy?

Answer : 

Sarvepalli Radhakrishnan, in works like The Hindu View of Life and An Idealist View of Life, explains the function of philosophy in a way that goes beyond abstract speculation. For him, philosophy is not just about intellectual exercises or logical debates—it has a deeper, practical, and spiritual purpose.

Here are the key points about Radhakrishnan’s view on the function of philosophy:

Search for Truth – Philosophy aims at understanding reality as a whole. It does not deal only with fragments of knowledge, like science, but seeks a comprehensive vision of life and existence.

Harmonizing Science, Religion, and Ethics – Philosophy mediates between different spheres of human life. It interprets scientific discoveries, religious experiences, and moral values in a way that makes them coherent and meaningful.

Self-Realization – For Radhakrishnan, philosophy is closely linked to spirituality. It is not just theoretical knowledge (jñāna) but a guide to self-realization. True philosophy helps individuals recognize their deeper identity with Brahman, the ultimate reality, as expressed in Advaita Vedānta.

Practical Value – Philosophy must guide human conduct. It provides direction to our personal and social life, helping us face problems of suffering, conflict, and meaning. In this sense, it is a way of life, not just an academic discipline.

Intuition and Experience – Unlike purely rationalist traditions, Radhakrishnan emphasizes intuition as a valid source of knowledge. Philosophy functions as a means of interpreting these intuitive and spiritual experiences and integrating them into human life.

Q.5 “Change is easy, and as dangerous as it is easy; but stagnation is no less dangerous.”  Write a note on Raghunathan’s views of changes which are required the educational/academic and political contexts.

Answer : 

Raghunathan’s observation—“Change is easy, and as dangerous as it is easy; but stagnation is no less dangerous”—captures his balanced view of reform. He warns that both extremes, blind change and rigid stagnation, can harm society. Instead, change should be thoughtful, gradual, and guided by values rather than by impulsive imitation or political expediency.

In the educational and academic context, Raghunathan stresses the need for reforms that keep pace with the demands of modern society without abandoning India’s cultural and intellectual heritage. Education should nurture critical thinking, creativity, and moral responsibility rather than being reduced to rote learning or mere preparation for jobs. For him, change in academia must aim at developing holistic individuals who can engage meaningfully with society, not just technocrats or passive followers.

In the political context, he advocates change that strengthens democracy, accountability, and ethical leadership. He cautions against radical shifts driven by populism or ideology, which can destabilize institutions. At the same time, he rejects political stagnation, where outdated structures and practices stifle progress. What is needed, in his view, is reform that adapts to contemporary challenges—such as corruption, inequality, and communal tensions—while preserving democratic principles and constitutional values.

Thus, Raghunathan presents a nuanced philosophy: change must be embraced with caution and direction, while stagnation must be resisted with vision and reform. Progress, in both education and politics, depends on balancing innovation with continuity.

Q.6 The Autobiography of an Unknown Indian is ‘more of a national than personal history.’ Explain.

Answer :

The Autobiography of an Unknown Indian as National History

Nirad C. Chaudhuri’s The Autobiography of an Unknown Indian (1951) is often described as “more of a national than personal history” because the book transcends the boundaries of individual experience and becomes a record of India’s cultural, social, and political life during the late colonial period. While written in autobiographical form, the narrative constantly connects Chaudhuri’s personal growth with the larger story of India’s transformation under British rule.

The text is not merely a record of Chaudhuri’s childhood, youth, and intellectual development, but also a detailed commentary on the impact of colonialism on Indian society. His descriptions of Calcutta, Bengal, and rural India serve as case studies of cultural change, the tensions between tradition and modernity, and the influence of Western education and ideas. In this way, his private experiences mirror the collective journey of a nation grappling with identity, reform, and the struggle for freedom.

Chaudhuri also weaves into his autobiography reflections on Indian nationalism, literature, and philosophy, alongside observations of British culture. His analysis of Indian politics, particularly his controversial admiration for aspects of British rule, positions the book as a cultural history of colonial India rather than a purely personal memoir.

Thus, the work functions on two levels: it narrates the making of an individual, but at the same time, it documents the making of modern India. By embedding his personal story within the broader socio-political context, Chaudhuri turns autobiography into a historical and cultural document.

Q.7 Write a note on the changing trends in Post-Independence Indian Writing in English.

Answer :

Changing Trends in Post-Independence Indian Writing in English

Post-Independence Indian Writing in English reflects the country’s journey from colonial subjugation to the challenges of modern nationhood. After 1947, writers shifted their focus from colonial encounters to issues of identity, tradition, and modernity, portraying the complexities of a newly independent nation.

In fiction, writers like R.K. Narayan, Mulk Raj Anand, and Raja Rao laid the foundation with themes of tradition, rural life, and cultural identity. Later, novelists such as Anita Desai, Arun Joshi, and Kamala Markandaya turned inward, exploring psychology, alienation, and the clash between modern values and tradition. From the 1980s onwards, authors like Salman Rushdie, Vikram Seth, Amitav Ghosh, and Arundhati Roy transformed the landscape through experimentation with narrative techniques, magical realism, and global themes, making Indian English fiction internationally recognized.

In poetry, post-Independence trends moved away from the romanticism of Toru Dutt or Sarojini Naidu to the urban realism and irony of poets like Nissim Ezekiel, Kamala Das, A.K. Ramanujan, and Jayanta Mahapatra. Their poetry reflected individualism, sexuality, alienation, and socio-political concerns in free verse, marking a sharp break from the past.

In drama, playwrights such as Asif Currimbhoy, Vijay Tendulkar, Girish Karnad, and Mahesh Dattani experimented with form and content, addressing issues like gender, caste, history, and modernity, blending Indian performance traditions with modern theatre.

Another significant trend is the emergence of diasporic and global voices—Jhumpa Lahiri, Bharati Mukherjee, and Rohinton Mistry—who write about displacement, migration, hybridity, and cultural negotiation. Women’s writing also gained prominence, with writers like Shashi Deshpande, Anita Nair, and Arundhati Roy highlighting feminist perspectives and female subjectivity.

Overall, Post-Independence Indian Writing in English evolved from regional and nationalist concerns to cosmopolitan, experimental, and global themes. It became a platform not only for exploring Indian identity but also for situating it in a wider world context.

References :

CHAUDHURI, NIRAD C. The Autobiography of an Unknown Indian. 1st ed., University of California Press, 1951. JSTOR, https://doi.org/10.2307/jj.2430527. Accessed 22 Sept. 2025.

Sreenivasulu Reddy, P., and Sarvepalli Radhakrishnan. “A Critical Analysis of ‘The Hindu View of Life’ by Dr. Sarvepalli Radhakrishnan.” Online International Interdisciplinary Research Journal, vol. IV, no. II, journal-article, Mar. 2014, p. 337. www.oiirj.org/oiirj/mar-apr2014/45.pdf?authuser=0.

The Editors of Encyclopaedia Britannica. “Sarvepalli Radhakrishnan | Indian Philosopher, Scholar.” Encyclopedia Britannica, 1 Sept. 2024, www.britannica.com/biography/Sarvepalli-Radhakrishnan.

The-Wolfe-Review, View All Posts By. “The Hindu View of Life by Sarvepalli Radhakrishnan.” The Wolfe Review, 25 May 2019, thewolfereviewblog.wordpress.com/2017/09/09/the-hindu-view-of-life-by-sarvepalli-radhakrishnan.

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