Saturday, August 16, 2025
SR: Blog on a Chimamanda Ngozi Adichie Talks
Friday, August 15, 2025
The Reluctant Fundamentalist
The Reluctant Fundamentalist
A. Pre-Watching Activities
1. Critical Reading & Reflection
1.Read excerpts from Ania Loomba on the “New American Empire” and Michael Hardt & Antonio Negri’s Empire. How do these theories reframe globalization beyond the center–margin dichotomy?
Ans : Ania Loomba’s analysis of the New American Empire and Michael Hardt & Antonio Negri’s Empire collectively shift our understanding of globalization away from a simplistic, hierarchical center–margin model. Instead of seeing global dynamics as a unidirectional flow from dominant centers (the West) to passive peripheries (the Global South), these theories emphasize diffuse networks of power, deterritorialized authority, and hybrid identities.
A. Pre-Watching Activities
1. Critical Reading & Reflection
1.Read excerpts from Ania Loomba on the “New American Empire” and Michael Hardt & Antonio Negri’s Empire. How do these theories reframe globalization beyond the center–margin dichotomy?
Ans : Ania Loomba’s analysis of the New American Empire and Michael Hardt & Antonio Negri’s Empire collectively shift our understanding of globalization away from a simplistic, hierarchical center–margin model. Instead of seeing global dynamics as a unidirectional flow from dominant centers (the West) to passive peripheries (the Global South), these theories emphasize diffuse networks of power, deterritorialized authority, and hybrid identities.
1. Loomba’s “New American Empire”
Ania Loomba critiques postcolonial narratives that still rely on dated binaries—civilized vs. uncivilized, center vs. margin—and she highlights how the rise of a “New American Empire” complicates such binaries. In particular:
Post-9/11 globalization intensified the urgency of postcolonial critique, as the U.S. aggressively projected power not merely through overt territorial control, but through ideological, military, and cultural dominance—often operating equally across so-called centers and margins.
This imperialism is not a simple top-down imposition; it emerges through bilateral encounters, discourse, and cultural framing—making marginal positions both influenced by and complicit in the global system.
2. Hardt & Negri’s Empire
In Empire (2000), Hardt and Negri propose a transformative view of sovereignty and control:
They argue that contemporary global power no longer resides in fixed nation-states but in a decentered Empire: a network of transnational institutions, legal orders, corporations, and media that exercise power globally.
Empire operates by shaping subjects and managing affective flows across all territories—whether traditionally understood as center or periphery—thus collapsing hierarchical binaries.
Their subsequent works, Multitude (2004) and Commonwealth (2009), expand on how resistance emerges not just from the margins but within the global system itself, highlighting collective subjectivities and shared spaces of power and resistance.
The Reluctant Fundamentalist
This reframed understanding of globalization enriches our reading of both the novel and film adaptation:
Changez operates within hybrid identities—educated at Princeton and working on Wall Street—embodying both center and margin.
His disillusionment shows how corporate and state forms of power converge across geographies.
The story becomes a reflection of a global network of influences, not a binary East-versus-West conflict.
Loomba’s framework helps us see how suspicion, mimicry, and mistrust are not peripheral phenomena but are shaped by engagement with Empire.
Hardt & Negri’s concept of Empire helps unpack the film’s visual metaphors that link religious fundamentalism and corporate fundamentalism, suggesting both are expressions of systemic power.
2.Reflect in 300-word responses: How might these frameworks illuminate The Reluctant Fundamentalist as a text about empire, hybridity, and post-9/11 geopolitics?
Ans :
Ania Loomba’s concept of the New American Empire and Hardt & Negri’s theory of Empire together reveal The Reluctant Fundamentalist as a narrative deeply embedded in global power networks rather than a simple East–West opposition. Loomba reminds us that post-9/11 politics intensified an already-existing imperial logic where the United States exerts ideological, military, and cultural influence far beyond territorial boundaries. Hardt & Negri further argue that power is deterritorialized and networked, sustained by corporations, media, and transnational law.
In Mohsin Hamid’s novel and Mira Nair’s film, Changez’s trajectory from Princeton and Wall Street to Lahore exemplifies this interconnected imperial web. His professional success at Underwood Samson situates him within the corporate “fundamentalism” of profit-maximization—a form of Empire that mirrors the rigidity of religious extremism. Post-9/11 suspicion and racial profiling disrupt his sense of belonging, revealing how imperial power operates even in the so-called centers of globalization.
Hybridity, as Bhabha theorizes, is central to Changez’s identity. He inhabits a “third space,” shaped by both Pakistani cultural roots and American elite institutions. This hybridity is not a harmonious blending but a site of tension, where mimicry of Western norms coexists with growing disillusionment. His relationship with Erica serves as a metaphor for the asymmetrical romance between the U.S. and its “others”—marked by longing, exoticization, and ultimate estrangement.
Barad’s discussion on globalization and postcolonial studies clarifies that such narratives must be read within broader systems of deterritorialized empire, where resistance and complicity coexist. Changez’s “reluctance” is not just toward terrorism but toward all absolutist ideologies—whether military, religious, or corporate. The text thus illuminates how post-9/11 geopolitics are shaped by overlapping empires, producing fractured identities and spaces for both compliance and resistance.
2. Contextual Research
1.Investigate Hamid’s background and the timeline of writing the novel. Note how the 9/11 attacks reshaped his narrative.
Ans :
Mohsin Hamid was born in Lahore, Pakistan, in 1971 and educated partly in the United States, attending Princeton University and later Harvard Law School. His career included work at the New York office of the corporate consultancy McKinsey & Company, giving him firsthand experience of elite corporate culture—an experience that deeply informs the character of Changez.
Hamid began drafting The Reluctant Fundamentalist in the late 1990s, before the September 11, 2001 attacks. His original focus was on a cross-cultural romance between a Pakistani man and an American woman, exploring themes of identity, alienation, and belonging. However, after 9/11, the geopolitical climate and cultural discourse shifted dramatically. As Ania Loomba’s notion of the “New American Empire” and Hardt & Negri’s Empire suggest, the attacks intensified global suspicion, racial profiling, and securitization—especially toward Muslim and South Asian identities.
Hamid rewrote the novel to embed this altered political reality. Changez’s personal disillusionment becomes inseparable from the larger post-9/11 environment: his Wall Street career is recast against the backdrop of a hyper-nationalist, security-obsessed America; his relationship with Erica becomes a metaphor for the fractured ties between the U.S. and the Muslim world. The narrative also adopts a dramatic monologue format, heightening ambiguity and reflecting the mutual mistrust characteristic of post-9/11 geopolitics.
This shift transformed the novel into a more overtly political and postcolonial text, interrogating not only terrorism and counter-terrorism but also the “fundamentalism” of global capitalism and imperial power. As Barad (2022) notes, such reconfigurations in storytelling align with the postcolonial urgency to challenge monolithic global narratives and expose the complex, hybrid identities shaped by deterritorialized Empire.
2.Write a short summary (150 words): What is the significance of Hamid having begun the novel before 9/11 but completing it thereafter?
Ans :
Mohsin Hamid began drafting The Reluctant Fundamentalist in the late 1990s, originally focusing on a cross-cultural love story exploring identity and belonging. However, the September 11, 2001 attacks radically altered the global political and cultural climate, especially for Muslim and South Asian identities in the West. In response, Hamid rewrote the novel to reflect this shift, embedding themes of post-9/11 suspicion, racial profiling, and the politics of the “War on Terror.” The protagonist, Changez, now embodies both the allure and alienation of globalization—thriving in the corporate world yet disillusioned by its moral emptiness. By starting pre-9/11 and finishing post-9/11, Hamid captured a world in transition, where personal relationships and global geopolitics became deeply entangled. This transformation gave the novel its political edge, enabling it to interrogate not just religious extremism but also the “fundamentalism” of corporate capitalism and deterritorialized empire.
B. While-Watching Activities
1. Character Conflicts & Themes
1.Father/son or generational split: Observe how corporate modernity (Changez at Underwood Samson) clashes with poetic-rooted values—though more implicit, think via symbolism or narrative tension.
Ans :
In both Mohsin Hamid’s novel and Mira Nair’s adaptation, the generational split is subtly expressed through the tension between corporate modernity and poetic-rooted cultural values. Changez’s career at Underwood Samson represents the Empire’s corporate fundamentalism—profit maximization, efficiency, and global market dominance (Hardt & Negri, 2000; Stiglitz, 2002). This world values analytical detachment and instrumental logic, stripping life of emotional or cultural resonance.
By contrast, Changez’s father, a man of literary taste and refined aesthetic sensibilities, embodies the poetic, humanist values of Lahore’s intellectual tradition. He resists the lure of material wealth, viewing dignity and cultural heritage as markers of a meaningful life. Ania Loomba’s postcolonial framework helps explain this as a resistance to the “New American Empire,” where global capitalism erodes local identities.
The symbolism is implicit: Changez’s expensive suits and corporate success in New York contrast with his father’s modest lifestyle and poetry-filled home. Istanbul becomes a cinematic metaphor—its layered history and cultural hybridity challenge the monoculture of Wall Street. The film emphasizes these contrasts visually: warm, earthy tones in Lahore and Istanbul versus the cold, sterile palette of New York’s corporate interiors.
This generational tension also mirrors a larger postcolonial split: younger elites drawn into the Empire’s networks, and older generations grounded in cultural memory and skepticism toward Western modernity (Barad, 2022). Changez’s eventual rejection of corporate life signals a return to his father’s values, blending them with his own post-9/11 political awakening.
Thus, the father–son dynamic, while understated, is central to the narrative’s critique of globalization. It frames Changez’s journey as not only personal but emblematic of a postcolonial subject negotiating between the seductions of global capital and the pull of cultural rootedness.
Thursday, August 14, 2025
ThAct: Midnight's Children
Midnight's Children by Salman Rushdie
This blog is created as part of the thinking activity on Midnight’s Children, guided by Dr. Dilip Barad Sir.
Characters of Midnight’s Children
Key Points
Learning outcome
Monday, August 11, 2025
Film Screening—Deepa Mehta's Midnight's Children
This blog is created as part of the academic activity for Paper 202: Indian English Literature – Post-Independence, guided by Dr. Dilip Barad Sir. For more details, please refer to the course material. Click Here.
Film Screening—Deepa Mehta's Midnight's Children
1. Who narrates history — the victors or the marginalized? How does this relate to
personal identity?
Traditionally, history is often narrated by the victors — those in power who control the dominant narrative. This official history tends to emphasize their version of events, celebrating their triumphs and sidelining or silencing marginalized voices. Such a top-down approach to history usually presents a linear, singular story aligned with political or cultural hegemonies.
However, Midnight’s Children challenges this by foregrounding the marginalized narrator — Saleem Sinai, who represents a personal and fragmented perspective that counters the official histories of postcolonial India. Saleem’s narration reveals the gaps, silences, and contradictions left out by dominant narratives. His story blends personal memory with national history, showing how the past is subjective and multifaceted.
This shift in narration highlights that history is not monolithic; it can be reclaimed by the marginalized to reshape identity and collective memory. In postcolonial contexts, the act of narrating history becomes a political and cultural assertion against colonial and elite domination.
Relation to Personal Identity:
Summary:
2.What makes a nation? Is it geography, governance, culture, or memory?
A nation is not defined by a single element; rather, it is a complex construct shaped by multiple factors — geography, governance, culture, and collective memory.
From a political perspective, geography and governance create the framework of a nation: defined borders, political systems, and state institutions. However, from a postcolonial and cultural perspective, a nation exists as much in the minds of its people as in physical territory. Benedict Anderson calls this an “imagined community”, where members may never meet but share a sense of belonging.
In Midnight’s Children, the idea of the nation goes beyond physical boundaries. India’s identity is shown as fluid, hybrid, and contested — shaped by religious diversity, linguistic plurality, and historical traumas like Partition and the Emergency. For Saleem Sinai, the nation is not merely land or governance but also the collective memory of its people: their struggles, celebrations, and shared stories.
This makes culture and memory central — they bind people together across geography and political divisions. Yet, the film also questions whether a single, coherent national identity is possible in a postcolonial state where memory is fractured and identities are hybrid.
Summary Points
Geography: Gives physical borders but doesn’t guarantee unity.
Governance: Creates laws and order but may not represent all groups equally.
Culture: Shared traditions, language, and art unify people emotionally.
Memory: Collective experiences — even painful ones — shape identity.
In postcolonial contexts, memory and culture often outweigh geography and governance in truly defining the nation.
Conclusion
3. Can language be colonized or decolonized? Think about English in India.
Language can be colonized when it is imposed by a dominant power as a tool of control, often replacing or marginalizing native languages. In colonial India, English became the language of administration, education, and law, intended to create a class of people aligned with colonial values. This imposition often carried cultural dominance, privileging English over local languages and shaping access to power.
However, language can also be decolonized through appropriation and transformation. Postcolonial thinkers argue that once a language is taken up by the colonized, it can be reshaped to reflect their own experiences, idioms, and cultural realities. In this sense, English in India has evolved far beyond its colonial origins. It is now a language spoken, written, and adapted by millions, infused with Indian vocabulary, rhythms, and cultural references.
This transformation reflects linguistic hybridity — the creation of a “third space” (Homi Bhabha) where language no longer belongs to the colonizer or colonized alone, but becomes a shared, adaptive medium. Thus, while language can be colonized, it can also be reclaimed and redefined by those who use it.
Conclusion
Language can be a tool of colonization, enforcing cultural and political dominance. In India, English was once such a tool under British rule. Over time, Indians have appropriated and reshaped it to fit local realities. This process turns a colonial language into a hybrid form of expression. Decolonizing language means making it serve the speaker’s identity rather than the colonizer’s authority.
Sunday, July 20, 2025
AN INTRODUCTION BY KAMALA DAS
An Introduction By Kamala Das
This task is based on a group discussion about the poem An Introduction by Kamala Das. The task was assigned by Prakruti Bhatt ma'am.
Question which discussed by group
2.Comment on the writing style of Kamala Das.
3. is there any personal connection between An Introduction poem and Kamla Das's life ?
4. Thematic and critical study of An Introduction poem ?
5. Kamla Das as confessional poet.
We also discussed the poem An Introduction in terms of escape and protest.
Name | Need Improvement | Good | Very Good | Excellent | Attendance |
---|---|---|---|---|---|
Shruti Sonani | ✅ | Present | |||
Khushi Raviya | ✅ | Present | |||
Jyoti Mer | ✅ | Present | |||
Divya Paledara | ✅ | Present | |||
Rozmin Pathan | ✅ | Present |
Shruti guided the discussion, and each member participated equally. We took turns addressing every question thoughtfully, making sure everyone was involved. As a group, we covered all the important aspects of the topic in detail.
1.Is “ An Introduction” by Kamala Das a personal or a universal poem? Justify your opinion.
“An Introduction” by Kamala Das is both a personal and a universal poem. It begins with her own life story, but the message she shares applies to many women in society.
Personal Aspects:
Universal Aspects:
Conclusion:
2.Comment on the writing style of Kamala Das.
Kamala Das’s writing style is bold, emotional, and highly personal. She writes with honesty and courage, often breaking traditional rules of poetry and language to express her inner feelings and struggles.
Confessional Tone:
Simple and Direct Language:
Free Verse and No Fixed Structure:
Personal and Universal Themes:
Conclusion:
3. is there any personal connection between An Introduction poem and Kamla Das's life ?
Autobiographical Elements:
Struggle for Identity:
Search for Freedom:
Conclusion:
4. Thematic and critical study of An Introduction poem ?
Thematic Study:
1. Search for Identity:
2. Rebellion Against Patriarchy:
3. Language and Expression:
4. Female Body and Desire:
Critical Study:
Conclusion:
5. Kamla Das as confessional poet.
What is Confessional Poetry?
Why Kamala Das is a Confessional Poet:
1. Personal Subjects:
2. Emotional Honesty:
3. Focus on Female Experience:
4. Use of First-Person Voice:
Conclusion:
Tuesday, July 15, 2025
Maharaja: Analysing Editing and Non-linear Narrative
Maharaja: Analyzing Editing and Non-linear Narrative
This blog is created as part of the studio activity for the unit Introduction to Film Studies, guided by Dr. Dilip Barad Sir. For more details, please refer to the course material. Click Hear
PART A: BEFORE WATCHING THE FILM
PART A: BEFORE WATCHING THE FILM
1. What is Non-Linear Narration in Cinema?
2. How Can Editing Alter or Manipulate the Perception of Time in Film?
Answer : Editing allows filmmakers to reshape the flow of time in a film by compressing, expanding, or rearranging events. Techniques like flashbacks take the viewer into the past, while flash-forwards show future events. Ellipses skip over time to move the story forward quickly. Cross-cutting and parallel editing show two or more actions happening at the same time in different locations, creating tension or comparison. These techniques help control how the audience experiences the passage of time, making storytelling more dynamic and emotionally impactful.
PART B: WHILE WATCHING THE FILM
PART B: WHILE WATCHING THE FILM
Scene/Sequence | Approx. Timestamp | Time Period | Visual / Editing Clues | Narrative Purpose |
---|---|---|---|---|
Maharaja reports missing dustbin | 00:23:00 | Present | Real-time pacing, no dramatic music | Introduces mystery and Maharaja’s calm but serious attitude |
Flashback: Maharaja’s wife killed in accident | 00:06:30 | Past | Faded colors, slow motion | Reveals deep trauma and past loss |
Cobra seen entering house | 00:17:00 | Symbolic / Present | Sudden close-up, fast cut | Represents rebirth, revenge and rising tension |
Flashback: Daughter Jothi assaulted | 01:42:00 | Past | Desaturated tones, fragmented shots | Adds emotional weight and shows reason for revenge |
Parallel: Police mock Maharaja’s complaint | 00:25:00 | Present | Cross-cut with flashbacks | Highlights disconnect between Maharaja and others |
Police fake return of dustbin | 01:55:00 | Present | Bright lighting, comedy tone | Distracts from real crime, irony in narrative |
Flashback: Maharaja kills Dhana | 01:10:00 | Past | Handheld camera, fast cutting | Reveals moral shift, justifies vigilante justice |
Reveal: Selvam is Jothi’s biological father | 02:14:00 | Present | Close-ups, dramatic lighting | Adds twist and emotional complexity |
Climax: Selvam jumps off building | 02:17:30 | Present | Long take, background score fades | Provides resolution, tragic end of villain |
PART C: NARRATIVE MAPPING TASK
1.Construct a Timeline of Events as They Occur Chronologically (Story Time)
Section A: PAST EVENTS
Section B: PRESENT EVENTS
Order Event Description 1 Maharaja Reports Missing Dustbin In the present, Maharaja visits the police station to report that his red dustbin “Lakshmi” is missing. He behaves calmly but firmly, creating confusion among officers. 2 Police Investigate The police dismiss his complaint at first but gradually realize the dustbin may be connected to a serious crime. 3 Maharaja’s Revenge Unfolds As investigation progresses, flashbacks reveal Maharaja’s actions and motives. Selvam panics and ultimately commits suicide, unable to face justice. 4 Truth is Revealed In the end, the audience learns that Maharaja’s “missing” dustbin was never about an object—it symbolized the trauma, justice, and memory of his past.
2. Create a Second Timeline of How Events Are Revealed to the Audience (Screen Time)
Order
Event (as shown on screen)
Narrative Technique
Purpose
1
Maharaja reports a missing dustbin at the police station
Starts in the middle (in media res)
Creates mystery — why is a dustbin so important?
2
Police mock his complaint and ignore him
Real-time sequence
Builds tension and curiosity about Maharaja’s character
3
Flashback of Maharaja cleaning the dustbin and worshipping it
Flashback / symbolic imagery
Suggests emotional attachment; builds symbolic meaning
4
Flashback: Death of Maharaja’s wife in an accident (very brief)
Fragmented flashback
Adds emotional depth and hints at a tragic past
5
Police try to return a random dustbin to Maharaja
Irony / black comedy
Continues misleading the audience, builds absurdity
6
Flashback to Jothi being assaulted (revealed partially at first)
Delayed flashback, montage
Begins to unravel the true motive behind Maharaja’s pain
7
Maharaja is shown cleaning blood, killing Dhana (revealed slowly)
Slow-reveal flashback
Twist moment: he is not just a grieving father, but has taken revenge
8
Selvam grows paranoid and attempts to flee
Parallel editing
Raises stakes — audience now suspects Selvam’s deeper involvement
9
Flashback: Jothi is revealed to be Selvam’s biological daughter
Major flashback twist
Deepens emotional conflict and moral ambiguity
10
Climax: Selvam jumps from the building
Present timeline / Real-time
Provides closure to narrative and resolves central conflict
3.Brief Reflection (150-200 words)
What effect does the editing have on your understanding of the characters and events?Answer : The editing in Maharaja (2024) creates suspense and slowly reveals the truth about the characters. At first, Maharaja seems like a strange man upset about a missing dustbin. But through flashbacks and non-linear scenes, we learn about his painful past, his daughter’s assault, and his hidden plan for revenge. This changes our view of him completely. The editing also hides Selvam’s true nature until later, making the story more powerful and emotional.
Did any reveal surprise you because of how it was edited?
Answer : Yes, the biggest surprise was the reveal that Maharaja's daughter, Jothi, had been assaulted and that the missing dustbin actually contained the body of her attacker, Dhana. The editing delayed this truth using flashbacks and misdirection, making the dustbin seem like a silly obsession at first. When the flashbacks slowly revealed the trauma and Maharaja’s revenge, it was shocking and emotional. The editing made the twist more powerful by hiding key events until just the right moment.
Would a linear narrative have had the same emotional or intellectual impact?
PART D: EDITING TECHNIQUES DEEP DIVE
Scene | Editing Technique | Impact on Viewer | Notes |
---|---|---|---|
Police try to return a random dustbin to Maharaja | Parallel editing, reaction shots, quick cuts | Adds irony and dark humor; keeps the audience guessing |
The editing contrasts the seriousness of Maharaja with the cluelessness of the police, creating tension and subtle comedy. |
Selvam’s final moments and suicide | Long take, silence, dramatic pacing | Builds emotional intensity and delivers cathartic release |
The extended shot without dialogue creates a heavy, tragic mood, making Selvam’s end feel inevitable and impactful. |
References
Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.
Thursday, July 10, 2025
Unit - 4 Crime and Punishment by R.K.Narayan (ThA)
Crime and Punishment by R.K.Narayan
About R.K.Narayan
About Crime and Punishment
1.How does the movie portray the education system?
Introduction:
The film Sitaare Zameen Par (2025), directed by R.S. Prasanna, sheds light on the education system, especially its treatment of differently-abled individuals. While the story centers on a basketball coach working with neurodivergent adults, it makes a powerful commentary on how educational institutions often ignore inclusivity, emotional development, and individual needs.
1. Lack of Inclusive Education
The film highlights how traditional education systems often fail to accommodate students with special needs. Most schools focus on academic excellence and discipline but ignore emotional intelligence, creativity, and diverse learning styles. The neurodivergent characters in the film are shown to be misunderstood, underestimated, or even excluded from mainstream learning environments.
"Our system teaches competition, not compassion." — A key message from the movie.
2. Misjudgment Based on Abilities
Teachers and schools are often quick to judge students based on their performance in fixed academic frameworks. The film shows how society labels individuals as "unfit" simply because they do not conform to traditional standards. It criticizes the "one-size-fits-all" model and calls for recognizing multiple intelligences and talents.
3. The Role of Empathy in Education
Through the character of the coach (played by Aamir Khan), the film promotes an alternative approach to education—one that is based on empathy, patience, and understanding. The coach becomes a mentor who believes in the potential of every individual, which contrasts with the rigid and indifferent attitude of most institutions.
4. A Call for Reform
The film indirectly urges educators and policymakers to rethink the system. It advocates for:
Inclusive learning spaces.
Teacher training in handling special needs.
Emotional support alongside academics.
Conclusion:
Sitaare Zameen Par serves as a mirror to the current education system. It reveals its limitations and urges us to build a system where every child, regardless of ability, is given a chance to shine. The film reminds us that education should not just be about grades, but about growth, dignity, and humanity.
2.What message does the movie give about the role of teachers and parents?
Introduction:
1. Teachers as Mentors, Not Just Instructors
2. Parents Must Be Supportive, Not Pressurizing
3. Joint Responsibility for Emotional Growth
Conclusion:
3.How does it compare with the story?
Introduction:
1. Teacher's Role: From Authority to Mentor
Message:
2. Parental Pressure and Expectations
Message:
3. Emotional Needs Over Academic Performance
Message:
Conclusion:
4.What did you feel or learn after watching the movie?
In conclusion:
References
Narayan, R. K. Malgudi Days. Indian Thought Publications, 1982. Accessed 13 July 2025.
Prasanna, R S. “Sitaare Zameen Par.” Wikipedia, Wikimedia Foundation, 12 July 2025, en.wikipedia.org/wiki/Sitaare_Zameen_Par.
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