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| S.No | Particular | Page No. | |
|---|---|---|---|
| 1 |
MONTY RANA Dr. RITU KUMARANAbstract: In each and every age some great litterateurs are born with their new ideas and new values; and as a result, new and newer poetic tendencies come into being with their own ideals |
 |
11-19 |
| 2 |
Dr.Indu Prakash SinghAbstract: Arun Joshi, an internationally renowned novelist, has added an outstanding contribution in the hierarchy of Indian English novels. His ‘The Foreigner’ is a superb work of art which presents the modern man’s existing predicament in which he is bound or compelled to remain. The modern man is haunted by the sense of rootlessness, alienation and the problems of existence. SindiOberoi, the hero of the novel, is the son of a Kenyan – Indian father and English mother. Being bereaved of the love of his parents in his childhood, Sindi always feels sense of alienation and rootlessness. In the course of his study he goes to England and then to America. And in England and in America he develops affairs with women and girl like June Blyth but his sense of alienation and detachment remains the same. When he comes to India and joins the company of Mr. Khemka |
|
20-27 |
| 3 |
G. Anupama Raj, Dr. Vasanth KiranAbstract: The aesthetics of Indian art forms, dance in particular, evolves from a world view which regards the cosmic process as a dance of microcosm and the macrocosm, a rhythmic interplay of eternity and flux in an unending movement of innovation, evolution and devolution |
|
1-10 |
| 4 |
Dr. Smita KAbstract: This paper examines William Congreve’s The Way of the World (1700) as a central text for understanding the interplay of gender, performance, and satire in Restoration comedy. Situated within a period of social transition, the play dramatizes the complexities of marriage, inheritance, and reputation, exposing the contractual and performative dimensions of gender relations. Through characters such as Millamant, Lady Wishfort, and Mirabell, Congreve critiques patriarchal constraints while simultaneously highlighting women’s wit, negotiation, and agency in a society dominated by property and appearance. The “proviso scene” particularly illustrates how performance and satire destabilize rigid norms, offering a space for both compliance and resistance. Moreover, the presence of actresses on the Restoration stage underscores how gender itself was staged and scrutinized in new ways. By combining feminist, performance, and cultural materialist perspectives, this study explores how The Way of the World reflects and satirizes social norms while challenging audiences to reconsider the construction of gender and power. |
|
28-42 |
