Manasi Joshi's blog

 Blog is given by Barad Sir As per Instruction I have generated two poems. First poem is based on Love and Second poem is about Flower. 1. Poem on Love (Heroic Couplet: 10 lines, iambic pentameter) Love is no perfect script that time recites, It shifts and stumbles through both days and nights. No single meaning wraps it safe and tight— It slips through speech, defies both wrong and right. A kiss may heal, or leave the heart confused, Its signifiers constantly misused. Yet in the chaos, passion finds its play, Not bound by rules, nor needing one fixed way. So let love speak, in silence or in cries— A text unhinged, where every meaning lies. 2. Poem on Flower (Short poem in iambic pentameter, 12 lines) The rose, it blooms, but never speaks its name, We call it pure—but meanings rarely stay. Its petals soft may whisper pride or shame, Its fragrance bends depending on the day. A sign, a scent, a myth in garden guise— We press our thoughts upon its blushing skin. Yet what it is must da...

This blog is given by Baras sir. Teacher's link : https://www.youtube.com/watch?v=ohY-w4cMhRM   1) Sonnet 18: Shall I Love You Thee (Deconstruction) Here, in this Video Shakespeare's Sonnet 18 using Jacques Derrida's theory of deconstruction. Deconstruction of this Video:  Shakespeare’s Sonnet 18 ( abridged version ) Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: ... But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee The Primacy of the Signifier: Words (signifiers) never point to stable meanings (signifieds); meaning is always deferred (a concept Derrida calls différance). Binary Oppositions: Literature often depends on oppositions (life/death, beauty/decay), which Derrida exposes as unstable and interdependent. The Illusion...

 Blog is given by Barad Sir. Teacher's Blog:  https://blog.dilipbarad.com/2016/01/flipped-learning-network.html?m=1 Video:1  https://youtu.be/gl-3BPNk9gs?si=LPu4lKhSB1_949r- Deconstruction: A Simplified Academic Explanation Deconstruction is a critical and philosophical approach developed by the French thinker Jacques Derrida. It is widely used in fields such as literature, philosophy, and cultural studies. At its core, deconstruction questions the idea that language and meaning are fixed or stable. Derrida believed that meaning is always changing and that we can never fully capture or define concepts with complete certainty. Why Deconstruction Is Difficult to Define Derrida himself argued that the term deconstruction cannot have a final, fixed definition. This is because philosophical and theoretical concepts are always open to new interpretations. Language does not provide clear, permanent meaning. Instead, meaning shifts depending on how and where it is used. So, tryin...

  Achilles and His Weak Heel Achilles is a famous warrior from Greek mythology. He is best known for his great strength and bravery in the Trojan War, which was told in the story called The Iliad by Homer. Achilles had a very special body. He could not be hurt anywhere — except for one small part: his heel. This weak spot is now called the “Achilles’ heel.” People use this phrase even today to mean a person’s only weakness. When Achilles was a baby, his mother, Thetis, wanted to make him immortal. So, she dipped him into a magical river called the River Styx. This river had the power to protect anyone from harm. But while dipping him, she held him by his heel. That part of his body did not touch the water, so it stayed weak and unprotected. When Achilles grew up, he became a great warrior. But during the war, he was shot in the heel with an arrow and died because of this weakness. Thetis – A Loving but Controlling Mother Achilles’ mother, Thetis, was a sea goddess. She loved her so...

My Kala Guru Shree Late Dharamshi Shah and Shree Jigar Bhatt. Learning Kathak for seven years is like walking through a beautiful rainbow, one color at a time. Each color of the rainbow — red, orange, yellow, green, blue, indigo, and violet — can be seen as a symbol for each year of growth in this classical dance journey. In the first year, the dancer is like the color red. Red stands for energy and passion. At this stage, the dancer begins to learn the basic steps, footwork (tatkaar), hand movements (hastaks), and simple expressions. Everything is new and exciting. Just like red is bright and bold, the dancer's spirit is full of enthusiasm and curiosity. The second year is orange, the color of creativity and joy. Now the dancer starts feeling the rhythm more deeply and can enjoy the music with movement. She begins to learn simple tukras and small tihais. Orange shows that the dancer’s body and mind are becoming one with the dance. She learns how to balance expressions and movemen...

  -My kala Guru Shree Dr. Ashok Patel taught me this technique in painting .    Wash Technique in Drawing – The wash technique is a popular method used in drawing and painting, especially with ink or watercolor. It involves applying a thin, transparent layer of color or ink over a surface to create a smooth area of tone or shading. This technique is called a "wash" because the color is watered down and flows smoothly over the paper, much like a gentle wash of water. How It Works To create a wash, an artist first dilutes ink, watercolor, or sometimes even acrylic paint with water. Then, using a soft brush, the artist spreads this watery color over the paper in an even layer. The goal is to cover an area with a light, transparent color that can be built up in layers if needed. There are two main types of wash: 1. Flat Wash – A flat wash is when the color is spread evenly across the whole area. The tone stays the same from one end to the other. This is useful for skies, back...

  Blog is given by Dilip Sir  Teacher's video This extensive analysis of a renowned play delves into the question of whether it conveys a Christian or broader religious message. The dialogue acknowledges existential philosophies, particularly those of Jean-Paul Sartre and other atheistic thinkers, while also exploring the potential for interpreting the play through the lens of diverse religious traditions, including Christianity and Hinduism. The speakers examine the characters Vladimir and Estragon, drawing connections to Christian concepts of hope and charity, and emphasizing their mutual interdependence. Key themes of waiting and hope are scrutinized, revealing their dual function as both a means of avoiding existential despair and as a form of spiritual yearning. Throughout the discussion, there is a focus on the cyclical nature of human existence, a critique of the habitual reliance on hope, and a challenge to confront the often grim realities of life without the solace o...