Author: dull and dark

Modernism & Postmodernism – II

The 2nd half 20th Century – the socio cultural movements that effected people are merging and becoming more. Post Colonial literature became  popular, Ngugi wa thiongo a Kenyan thinker – Moving the Centre – The plurality of culture and literature, the shift from Eurocentric understanding of the world. Grand narratives centred around the Eurocentric understanding, and postcolonial works thus became a shift from these Grand Narratives. The way art aesthetics and literature were looking at the past and the grand narratives became problematic, because people felt a need to bring back the past, but simultaneously in every country there was this need to bring something new back. Every age becomes a response to a previous period and the previous period is a response to resistance. Literatureis not something that is just to entertain people, the position of literature is embedded in our social systems, part of your existence. To understand postmodernism, is to lie on modernism. France Fanon, Meena Kandasamy, examples of theoretical perception are taken forward with people of different discipline. Thiongo’s  work becomes important for the possibility of multiple centres and multiple meanings – a product of European imperialism and internal resistance as well. 

Mcluhan’s  Medium as message, depending on the medium the reachability is different and the access as well is differing. 

Susan Sontag – a revolt against  ‘the departure from modernism can be regarded as new sensibility, a revolt against canonised modernism’s avant-guard revolution’  – Critiquing the high culture of Modern Capitalist world, against the cannon. On one hand Modernism tried critiquing the Grand narratives and on the other it cerated a canon for itself. 

Modernism is adopting plurality like Postmodernism, but was lamenting fragmentation even though working through it, trying to work on a wholesome unity, they continued to believe that with lit or artistic expression we may achieve a ‘self’ while postmodernism are embracing fragmentation, praising dissent, rather celebrating fragmentation. 

Arnold Toynbee – birth of postmodernism, and questioning the tradition moral values and beliefs (grand narratives); and by questioning this he’s talking about the development of cultural modernists and the different understanding of the world, a better apparatus of understanding world and culture. Grand Narratives continue to be over – aching and totalising and replace or silence other narratives around us. And how mini-narratives can replace grand narratives by promoting plurality and heterogeneity as it becomes local. [Culture in modernism – a cultural innovation – development of new meanings.] Postmodernism is branching out to different ways, questioning the requirement and the need for plurality and heterogeneity.  

Modernism & Postmodernism – I

1922 – TS Elliot’s Wasteland & James Joyce’s Ulysses, Virginia Woolf – Jacob’s Room

1927 – Virginia Woolf – To the lighthouse.

1924 – Manifesto of the Surrealist Moment – Andre Bretel

1937 – Guernica – an anti-war painting. 

1914 – Stravinsky – Rise of Spring

Before Modernist was the Victorian Period, certain set of practices that was held sacrosanct up until the 1920’s, and everything that came out post 1920’s questioned everything. Linear chronological narrative was held sacrosanct for ages, and Elliot, James Joyce, Virginia Woolf were subservient to these narrative, alongside the impressionist, and the Credo of Modernism ‘make it new’ campaign by Ezra Pound; Modernist thinkers and philosophers stood for renovation and experiments, ‘Avant Garde’ ‘Sapere Aude’ (dare to know – courage to chart new territories) – after WWI. 

Theoretical justification form this break of the past ? Why ? The central image of modernism was a big large void that defined Modernism – Scepticism/disbelief/boredom/disillusionment/restrictive and that this is not ‘it’, and to replace it with something new; and everything that was held important started falling apart. The science that was to make everything better couldn’t hold, the centre was falling apart and one couldn’t make sense of it, here structuralism to poststructuralism – Derrida – meaning is differing. 

1990 – Virginia Woolf – Modern Fiction – in the pre-verbal or pre-literate thought your words are not linear, because it’s happening in your mind, therefore chronological pattern never works, it’s always in a flux, therefore she suggests “stream-of-consciousness” – a randomness of a narrative – no structure, a linear mode of storytelling – Virginia Woolf’s Mrs. Dalloway. 

Purist, Exclusivist/Universalist – to contain a single meaning – something that is questioned by Modernism. Meta Narratives/Grand Narratives that dictate the Euro – Centric understanding of the world, that make things/life better or easier – Marxism, Religion – Christianity – Redemption. 

Single Epistemology (the theory of knowledge) 

Post Colonial/Gender/Race came in complicating others. 

Moving the Centre by Ngugi wa thiongo, and Afrocentrism. 

Skincare

This is a topic that each one of us need to address, and over the years, there is definitely been a rise in discussions on but what has predominantly tampered these discussions are the issues of finance, because skincare isn’t just for the middle class or the elites, it’s is for everyone, even if the common consensus is not for the same. 

Undoubtedly, there are startups and other companies that cater to the lower side of budget scale, and even deliver a somewhat mediocre result, but it still isn’t cost effective for everyone. 

Next, the complicated process that is served to us, makes us blinded towards what our needs are or what our skin needs, we are normalised to ignore the nourishments our skin needs, the lil’ TLC we deserve, rather we are fished by companies, complicating the process and many celebrities add more to this complication, just because it suits their skin, it doesn’t necessarily suit yours, and these celebrities are more often than not are paid to promote a certain product, or are using products that are capable to leave a dent on your pockets.

So what’s the best line of action? Some R&D, dig through articles, figure what skin type you have, read what could suit your skin, what could benefit you, and is good for you — ingredient wise, and one that, start filtering what suits your budget, and what is easily available to you, read more about the products and the company, their ethical practices, and its cruel-free deliverance, and once you are satisfied with your choice, go for it, trust you gut, since its about self care, start loving yourself as well. 

And make sure, you always, ALWAYS, listen to your skin’s needs, they will speak to you and depending upon that go by your routine, nothing has to be rigid. 

Swearing and Masculinity

Swearing has always been a man’s thing to be manly, this doesn’t mean that woman’s don’t swear, they do, and to an extent it’s perfectly normal to use certain adjective, sometimes it’s unconsciously used in your lingo, sometimes you do it forcefully to seem cooler and more acceptable among your peers, but more often than not, the use of profanity is used to show off masculinity.

How so? Mens in their natural habitat — hanging out with their peers, start acting immaturely, and extend that immaturity into conversations and things escalate and you normalise using a very colourful vocabulary. 

Is it redundant to use this same argument? Possibly for some, but the fact-of-the-matter is that while just simply talking, you don’t need to get aggressive, don’t need to raise your tone, or anything like hat to get your point across, you do. 

Would you like to cutdown on it? You should, its not pleasant to have a potty mouth, nor is it flattering, and it could get you into situation within a professional set up and you would do something and can’t turn back again, thus it make a compelling argument that you need to throw off your male ego, you masculinity crutch of profanity and try being better, and if you have swearing as a crutch to feel masculine, then you have much bigger and intense problem about your identity than anything else. 

What next, clean up your act! Be human, be more vocal with your certifiably tremendous vocabulary, and if anytime you feel the ‘itch’ to use such words, breathe to it and try finding suitable replacements to it.

Internships

It’s always better to start early, and gain as much experience.

Internships have always  been difficult while juggling University where it is required to show up everyday and attend almost all your classes. But the competition these days are cut throat and nothing promising could ever come your way — if you think you could just breeze through lives. 

Being respectful that not all situations that every single one of us face are conducive for us to start investing our time for any sort of extra-curricular, but you also need to stop excusing yourself and being lethargic, it won’t ever help you. 

You are supposedly at the prime of your age, if you keep up the act that have bailed you away from serious commitment, then you are just downplaying your life. You’d never need to blame it on other’s past action or even current actions, even though you could be right to blame them; it doesn’t help, you’ll just spiral out with your thought, and give power to someone else, that’s a big no-no. 

Moving on, let’s ask oneself what they are interested in, and even with what is currently their educational qualification, are you comfortable trying new things? And if you could see yourself trying everything out just once, give yourself a pat in the back and get on your devices, reach out to people and start applying for positions and trainings that could help you. 

The more you get exposed to different working conditions is better, you get street-smart for starters, but you also learn what it takes to strive and exist in the market, you learn interpersonal skills and even brush up your communication skills which wouldn’t have happened within your little friends clique. 

Thus actively participating in such activities without being nagged by someone would be beneficial for you and improve you, more than anything else.. it could also help proof people that you’re serious with what you’re doing and are capable enough to look after yourself.

The pandemic with all its flaws have provided to accommodate work-from-home internship opportunities to many, which takes off a big load from us, and we can engage in multiple activities at a given time with just a switch of your device screens/windows/slides. 

Aristotle’s view on the Tragic Hero [Part B]

Along the same lines of how a tragic hero need to be an enabler for not just a good plot but to reach for the desired set of emotions equally is 5) Hamartia a tragic hero with imperfections; the specific being his/her “tragic flaw” not the best adaptation of Hamartia, but is far more commonly used for a characteristic moral failing in an otherwise predominantly good man. The Hamartia of the hero is closely and inseparably connected with 6) “Peripety” the several of fortune from the point-of-view of the character involved and for a spectator or a reader the plot of the play as a whole is a reversal of the direction of the action. The analogy is thus that Peripety is contained in the idea of the boomerang effect of one’s own action. 7) Discovery – “A change from ignorance to knowledge.” The discovery of the truth of the matter is the costly beginning from the state of ignorance which is the very essence of “hamartia”. Hamartia, Peripety and Discovery all together in their ideal schematisation of the tragic plot.
Furthermore, tragedy, is presupposed as purging out of emotions of Pity and Fear i.e. Catharsis; exhilaration, a pleasurable sense of relief and the Tragic hero is given the title of the enabler of the purgation of these emotions. Relation of emotional catharsis which tragedy helps generate is the tragic pleasure. Therefore the continuous insistence towards Pity and Fear is because pity is generated under the pretence of a tragedy towards the character whose punishment for the audience is exceeding his crime; the punishment is more that what he deserves, and similarly Fear is when the hero; who being “not pre-eminently just and virtuous” is still better than ourselves and yet failed, then what hope do we have left?
Therefore the catharsis that Aristotle mentioned just once in Poetics is of emotions that occurs accidentally but surely in a tragedy is something he elaborates on, this accident is to be experienced to everyone in the audience or to anyone reading a work of art; no 

matter of high intellect does experience this form of proper pleasure which happens through proper tools and albeit perceived to be an “accident” is a sure shot guaranteed by the tragic hero.
Thus the tragic hero of Aristotle accounts to the whole of the Tragedy to be brought up to its potential and serve its purpose.

Aristotle’s view on the Tragic Hero [Part A]

Make sure you also read the second part of this post.

When Aristotle is talking about the tragic hero, it’s important to pan out where the tragic hero is being placed at and accordingly the significance of the ‘tragic hero’ needs to be questioned. This is furthered by the interpretation of the plot and the use of tragedy in the said plot that would give the idea of what Aristotle is describing as the tragic hero. So it’s important to understand tragedy; before anything, and so Poetics seems to be a plausible guide alongside plenty of other definitions within a dictionary which although correct; doesn’t fully help apply the idea of Aristotle. No-one in any absolute sense could define what Poetics denote as words have been genuinely lost in translation and what we could scavenge are a sense of one’s own point-of-view or interpretation to pacify their intellect; one could contest it to be inconsistent and probably is right in doing so, but the fact of the matter is the idea of lost in translation remains undeterred. 

Additionally, discussing on the characteristics of the tragic hero is an extremely elaborated idea of what Tragedy is and while, Aristotle’s Tragic Hero is someone who is primary agent in his Tragedy; which is an essential element in the notion of arousing Pity and Fear – the catharsis of Pity and Fear for Tragic Pleasure is also an important characteristic feature for the Tragic Hero. 

Humphrey house affirm seven points directed towards the dramatic character or the tragic hero 1) The tragic hero or the character in a tragedy must be Good. Tragedy is a limitation of personages better than the ordinary man. Hence goodness of character is a prerequisite for Aristotle as it is the foundation of initial sympathy in a spectator without which tragic emotions cannot be roused, that is tragic pleasure is ultimately conveyed through sympathy or Pity, a very basic of the whole tragic pleasure. All characters in a tragedy for Aristotle should be equivocally good. Although Aristotle’s good man is not good unless he is desiring specific, positive, good ends and working towards the attainment; therefore its necessary for the execution of a tragic plot that the hero has to be “not prominently virtuous or just”; adding here Immanuel Kant who talks action to be morally worthy, something that should be executed to do the right thing for the right reason and is said to hold that to do the right thing for personal reason isn’t morally right and that the motive of duty should be autonomous and not altruistic. Scholars have questioned on what does Aristotle mean by “good”, and it’s later when reading Poetics is established on the Ethical Goodness of a character. 2) Appropriateness of Character – a fitting character, the Plot should attempt to guarantee the individuality of Character in compliance to its status which is fundamental. 3) “Likeness” of Character – the literary portrait produced by the poet should be ‘like the original’, i.e. like what the personage in question is in history of legend; depriving the poet of his creative freedom and ties him to a quiet indefinable exemplar, because history and legends are largely the creation of other writers. Likeness — Aristotle differentiating Tragedy and Comedy by the consideration of type of characters shown acting in each — characters are either better or worse than ourselves, or just like ourselves: although Comedy makes its personages “worse” and Tragedy makes its personages “better than the men of the present day.” 4) Consistency – Aristotle describes a formula “consistently inconsistent” it is not concerned with momentary conflicting passions but with “the basis or foundation of a character “, — habit, bent or tendency. 

Longinus on ‘the Sublime’

In terms of its influence in modern literary criticism, aesthetics and philosophy of art, Longinus’s Theory of Sublime is a very critical piece of work. He is placed second to Aristotle’s Poetics by many scholars. Peri Hypsous is simply a rhetorical treatise offering an especially strong inclination of the awe-inspiring or high style of quality writing siding with the glories of written literature. 

The ownership of the treatise is a debate since its emergence during the Italian Renaissance with several manuscripts around until the initial publication by Italian humanist and philologist Francesco Robortello shaping the pre-existing dominant ideas in the world of literary criticism by Horace and Aristotle. The Theory of Sublimity is considered to be subjective as well as intersubjective on account of literary practice. The entirety of Longinus’s work is constructed over the notion of expressing greatness in one’s language and that being an important precursor for a writer, it also adds to what his predecessors helped shape the art of writing and diction. Longinus’s approach is characterised as distinctive and original on its precisely subjective drift: its focus on the creative and receptive facet of verbal arts, on the wit of the writer and affect on the audience is a crucial role of the text.
In western thought, the theory of Hysous is seen at length from its production contesting that the theory doubles itself as a theory of Genius. Longinus has also successfully inclined towards sublime being considered as a dual experience of simultaneously being overwhelming and elevating, dominating and exalting.
We are acquainted with the five forces of Sublimity; 1) Grandeur of thought and ability to form grand conception & 2) Powerful and inspired emotions – These are related to writers innate or natural capacity. 3) The effective use of stylistic & rhetorical figures as a means of increasing emotional impact of literature, 4) Noble diction & phrasing — the skilful use of metaphors and other figures of speech & 5) Dignified & elevated composition, most effective arrangements of words – is an artificially gained tool for achieving sublimity. The nurtured virtue in an author who must skilfully cultivate into the feeling in what he/she writes is proposed as; Sublimity as the echo of noble mind, could be a viable thought. “Sublimity is” for Longinus, “a kind of eminence or excellence of discourse. It is the source of distinction of the very greatest poets and prose writers and the means by which they have given eternal of their own fame.” It’s a discussed that the hypsous is intrinsically related to logos — translated as discourse; that the thought and diction — is inherently linked to the nobility of supreme and that a piece of art containing flashes of Sublimity — for a text need not be dripping in Sublimity but its position could be elevated with just these flashes — is universal and transhistorical.
The Sublimity of a text is acknowledged by its affect; its feeling and emotion, and so the most consequential way of defining sublimity of a text is by describing its affect on the audience.

Love or Hate: Starbucks Version

Is being a Starbucks fanatic such a big deal that people make it out as?

Objectively speaking, the prices that is associated with the drink stands an international bench mark, it is equated to the dollar-value and thus to create a sense of uniformity, the drinks are priced the way they are, because of it.

But even beyond that, if you are a coffee lover and there aren’t any local shops that cater to such an extensive variety in coffee, sure I’d try that, but majority of shops/cafes have very restrictive and cliché orders, which doesn’t serve me any purpose because that not my drink of choice. The lack of tolerance or control or the displeased expression that people sport when you talk about Starbucks to anyone, is uncalled for, but sure everyone is entitled to their opinion. 

Moving on, this isn’t a bitter post towards those who hate Starbucks. But, the when accounting to the fact that I could spend hours there, chatting or just watching a movie, probably working too, and no one would bother interrupting me, nor am I engaging with the hustle bustle of the boisterous town around me, then I don’t see a problem, I can just be an escapist sitting under gloomy, warmly lit walls with sweet heavenly scent of brewing coffee and baked goods, I don’t see why that isn’t a good thing, for me, and that’s important, it is what matters the most. 

Lastly, it’s quite redundant to keep on dragging this futile discussion amongst people because it’s sometimes doesn’t need to be about the money, or anything else, it just has to be with what someone is comfortable with and what suits them the best, everyone needs to respect the other based on their discussion where the want to spend their money and time.

There’s nothing boujie or pretenscious  about taking care of what you want. And don’t feel guilty about it nor feel obligated about answering to anyone. 

Ideology defined by Louis Althusser

Figuring out what Ideology is, when understanding these Marxist terminology, it’s important to look at these ideas not as obsolete reality but an ever evolving pervasive concept. Karl Marx, has his own definition of Ideology as ideas and beliefs set out by the dominant class of a society for everyone to obey and thus justify the actions of the dominant class in any society. Here, Louis Althusser sets out with his own interpretation and has worked in “On The Reproduction Of Capitalism: Ideology And Ideological State Apparatuses”, that;  i) Ideology has no history, it is eternal; ii) Ideology represents the imaginary relationship of individuals to their real conditions of existence; iii) Ideology has a material (or spiritual) existence; iv) Ideology interpellates individuals as subjects. The four of these points become a pinnacle to what Althusser insists in the nature of Ideology.

These 4 parameters help us understand its nature, to what Ideology represents, for when man entered the state of nature, by subscribing to ideas and beliefs, we subscribed to this ideology, which though speaks of, no history  in itself, it’s still is an  implicit force that drives the Capitalistic existence, although  omnipresent. And leading on  to the second point, that “men represent their real conditions of existence to themselves in an imaginary form”. Who one is, is just another fragmented idea of you, which Lacan also states in the Mirror Stage and this is crucial in the understanding of this idea as well, that ideology works within multiplicity of narratives, conscious or unconscious, that shapes or has the ability to shape one’s identity. When the material existence of ideology is brought up, it is the material practices, ritual, and action that works under Ideology, unsuspecting and yet controlling one within their grasp. And lastly, Althusser believes, ideology interpellates individuals as subjects – their subjection to the category of subjects. There is no ideology except by the subject and for subjects, which by working seamlessly and weaving thoroughly over the three previous paradigms to concreticise the concept of ideology. 

One could say, Althusser’s insight about the “social unconscious” when it comes to assessing the concrete political realities and struggles, is thus become not just another crucial point to define and understand Ideology, but in itself a very significant negotiation of the concept of ideology in itself. 

You’ve graduated, now what?

Never give up on an opportunity for education, to educate yourself is a very pivoting experience.

The seemingly biggest existential crisis for most of us, if not all, hits when you’ve finally graduated but can’t focus on what is the next right step. This comes with a lot of challenges and pressures, but always remember; to focus on what you want, these are the years where you can mess up, pick up the pieces and move forward, do that, unabashedly. 

Are you scared, or not ready to take up your Masters? Or do you want to look for a stable job right away? This is your life, and you get the reigns for it, no matter the pressure, don’t let people fool you into pursuing what you weren’t read for, these people are not gonna be around forever to scrutinise you, we all just need to learn to create healthy boundaries. 

Make sure you are engaging yourself with all sorts of information and not just one sided research thrusted upon you by someone. That’s got to be your first step.

Think clear of long term goals before pursuing any thing, imaging what do you consider of yourself in the next 10 years, and plan accordingly.

If the situation isn’t favourable now, that doesn’t necessarily should spiral you into depression, work hard on proving a plan, it seems superficial for some, but it always works. 

Have your plans gone sour? No worries, it’s not the end of the world, nothing truly happening to you is, just keep a calm mind and multiple options at your disposal; never put all your eggs in one basket. 

Your degree doesn’t satisfy what you had planned, get another one, it’s just matter of years you’d put in, and it would be enlightening. 

Take up courses, brush up your skills, know more and have the zeal to learn and tackle anything, and that’s it for you, if you could just wholesomely tackle anything that is in you way, you can surely win over all your situations.

But, most importantly, don’t run behind something or someone, you’re young, you’re going to make mistakes and you need to own upto it, but sticking to someone or something would always narrow down your path while you just want to do the opposite. 

Just make sure that you —no matter what’s the situation is in ahead of you don’t loose faith in yourself, even when no one truly are standing besides you; because its always empty at the top 😉

Mimesis in Aristotle’s Theory of Art [Part B]

In addition to imitation, representation and expression; mimetic activity produces appearance and illusion that affects the perception and behaviour of people, though this doesn’t negate Plato’s theory on the “realness” of imitation. For, though it is a common belief that perpetual experience allows us to have a closer look at the ‘real’ because works of art are encoded in such a way that humans are not duped into believing that they are the reality but rather recognise features from their own experience of the world within the work of art that cause the representation to seem valid and acceptable – not just existing object or element but beautifies, improves upon and universalises these artistic musings. Aristotle next explores how imitation gives knowledge not just only to the philosophers but to everyone, which in turn creates a delight. Art unlike Plato who dismisses the said notion of art as an imitative form brings about the best in an artist, in terms of how he produces art. It is also essential to note that Aristotle doesn’t put Mimesis in some hierarchical nomenclature like Plato who’d put it to the lowest level of stratification. In any Tragedy, Aristotle insists on a plot arousing Pity and Fear by spectacle/audience which adds more to comprehending imitation; the spectator need not see the object in person which though is crucial, isn’t a deal – breaker, as even a play which has this element of imitation – can convey the plot effectively this can. Be achieved by delivering the speech, actions, the chorus, setting and other elements in such a way that imitation of the desired idea is carried out with brilliance and would successfully be rousing the cathartic element of tragic pleasure is also an important idea with Mimesis.

He dwells upon how Art doesn’t reflect any aspect of natural life as origin of art to the human affinity is through imitation, and while doing so isn’t discarding or trampling is as something necessarily bad but is entirely critical of an artist. Furthermore, he speaks on The Theory of Art as a productive science — for Aristotle, something which only rational human beings can engage in — as the quality produced determines merit of Art, and so art in its absolute formation is acknowledged by Aristotle focusing on its imitative element, as all works of art are modes of mimesis. 

Mimesis in Aristotle’s Theory of Art [Part A]

Please make sure that you read cache up on the next post for more.

Aristotle in his Theory of Art reasons on the imitative nature of art; and further proposes that art imitates everything that is nature. In his theory he hints out that a poet, by his work tells us what is to happen unlike a historian who recites on what occurred in the past, which is put forth by Aristotle himself on the imitative nature of ‘poets’ work. The Oxford English Dictionary defines Mimesis as “a figure of speech, whereby words or actions of another are imitated” or “the deliberate imitation of the behaviour of one group of people by another as a factor in social change”. Mimicry as “the action, practice, or art of mimicking or closely imitating … the manner, gesture, speech, or mode of actions and persons, or the superficial characteristics of a thing” .
Aristotle focuses on the Mimetic nature of Art which isn’t a sole focus of Poetics, and while doing so, he had opposed to what Plato believed, that mimesis was manifested in ‘particulars’ which copies or imitates the forms from which they are derived; thus, the mimetic world (the world of representation and the world of structure of conscious experience) is inherently inferior in that it consists of imitations which will always be subordinate or auxiliary to their original. Aristotle, unlike Plato, has his own interpretation to the theory of imitation and thus doesn’t comply with what Plato presents when he talks about Mimesis. Aristotle has evidently accepted and agreed of the heterogeneous notion of art being produced by different artist differently, which gives a distinct identity to the theory of imitation and so he believes that an artist is responsible to birth an art form unlike Plato, who negates any form of Art – as it’s being thrice removed from reality. He contests these notions of reality and argues to the point that imitation is an extremely natural instinct in human nature, something very basic, the ability to imitate sets human beings apart from other animals and so not only it is natural to imitate it further helps to learn and simultaneously experience delight from it. In Poetics, what Aristotle has wrapped up for us isn’t a very definite answer, for what he means about ‘Mimesis’, instead has left it broad and elusive. Although various discussions on ‘Mimesis’ to be an integral fraction to the relationship between art and nature and to the relations governing works of art themselves. Therefore, we can assert the various species that Mimesis is distinguished in, i.e. Mean; Object; Mode of Imitation. Although for Aristotle, Imitation involves not merely physical resemblance, but also what one might call generally the relations between things or the ‘mechanism’ of things, he thus proposes the three key distinguishers through which one could filter imitations. Mean – is something a poet applies to his work of art, say Poetry and Dance, what distinguishes these two forms is; one requires spoken language to be at fruition and the other, not essentially emphasises on language and it thus could be substituted by music, similarly in Poetry difference in its metres or rhyme scheme and the structure in general could itself separately each genre from the other like Epics, Ballads or Elegy, et cetera. Next is Object of imitation – what the mean — the ‘matter’ of imitation — represent, and this would produce for better or worse or the same effect of the original piece imitated, here Aristotle points at the distinction of Tragedy and Comedy, for tragedy we’d need a better mode of imitation and for Comedy one uses caricature i.e. laughing at the object of imitation, to show an inferior or worse form of imitation to produce the choice effect. Further along is Means of imitation which in poem could be what the poet chooses as a form of delivering his work of imitation.

Vaccination

Before we start, please ensure that you — yourself and other are trying and registering yourself for the Covid-19 Vaccines.

The worlds largest vaccination drive, surely, but I’m tired of searching slots, and definitely who isn’t at this point. Be it Dose 1 or Dose 2, getting a slot — is equivalent to witting lottery, and you can’t argue with me, the lottery has amounts; price, money as a gift, with Vaccination slots, the nearer the Centre the bigger the jackpot. Oh.. what a nuisance. 

I just had to travel 10+ KM to get my jab, and mind you; I stay in a metropolis. After months, and I’m not exaggerating, months, I finally paid enough to get my first jab (a pat on my back).

Nonetheless, don’t get dishearten, getting these vaccinations are crucial, with the Delta Variant hanging over our head, it has been all the more important that we start taking care of our health more and more. 

Please still do follow all the social guidelines and public health notices, make sure you follow it for yourselves and that you don’t bring harm upon someone else; don’t complain if someone isn’t following the rules, you can insist them, but it’s their option and we have to respect, but that doesn’t mean you can compromise your safety. 

Eat healthy, eat well, stay door, maintain social distance and wear a mask. 

Go to the COWIN website and ensure that you have registered yourself by now, don’t make plans for a group vaccination day, it’s not a picnic, your health should be your primary focus. Keep on searching for slots in your district, or area, enrol yourself to sites/apps like PayTM to get notified when the nearest slot is available, the process is tough, with such a huge population, it can’t be avoided, that’s why you need to stay of top of your vaccination game, and take proper care once you do get your jab.

PLEASE CHECK THE COWIN WEBSITE HERE: https://www.cowin.gov.in/home

UN World Food Programme: II

SYRIA: Millions of people have been displaced from their homes , Conflicts in Syria’s northeast and northwest have increased levels of hunger and food insecurity as families have lost their homes, businesses and incomes

In December 2019, conflict escalated in northwest Syria and western

Aleppo. Close to one million people were forced to flee their homes in the largest wave of displacement since the crisis began.

WFP launched an immediate response and scaled up its ongoing humanitarian operations in the northwest and is now providing emergency food assistance to more than one million people each month through cross-border operation from Turkey.

Across Syria, WFP continues to ensure that food reaches the most vulnerable families when they need it the most.

4.8 million people in Syria receive lifesaving food from WFP each month. 

The Nobel Peace Prize 2020 was awarded to World Food Programme (WFP) “for its efforts to combat hunger, for its contribution to bettering conditions for peace in conflict affected areas and for acting as a driving force in efforts to prevent the use of hunger as a weapon of war and conflict.”

And just like that, when the World Food Programme were offered UN Peace Price amidst all the harsh realities, and morbidities, the deaths, the wars — 2020 acknowledged the work and effort that the Food Programme have constantly been putting in, in order to create an equal, and secured environment. 

You can check their work and know more about them at: https://www.wfp.org