School of Liberal Arts (SoLA)

&ldquo;IIT Jodhpur is committed to impart quality education to facilitate the creation of qualified, competent and responsible human resources to meet the emerging technological challenges of the world. It is working towards creating an equitable learning platform that is positive, accessible and effective in the face of the modern societal and scientific advancements.

Flexibility in curriculum, in all its academic programs, encompassing elements of teaching, research, creativity, innovation and entrepreneurship is the most unique feature of IIT Jodhpur. The Department of Science and Technology (DST), under the National Mission on Cyber Physical Systems, has identified IIT Jodhpur as a Technology &amp; Innovation Hub in the area of Augmented Reality and Virtual Reality. The institute has also been nominated as the coordinator for the Jodhpur City and Knowledge Cluster by the Office of Principal Scientific Adviser, Government of India.

The sprawling 852-acre IIT Jodhpur campus is a majestic tribute to the deep-rooted diverse cultural heritage of the region. The campus is an architectural masterpiece, which is slated to become an international exemplar of sustainability with net-zero energy, and advanced water and waste management strategies.&rdquo;

IIT Jodhpur

Rev. of Kaghazi hai Pairahan: The Paper Attire by Ismat Chughtai. Trans. By Noor Zaheer. OUP: 2016.

The Book Review

Mixing Memoir And Desire

Introduction to the special issue, Translated Worlds: History, Diaspora, South Asia. Co-written with Chandrima Chakraborty.

Postcolonial Text

Translated Worlds: Passages, Journeys, and Returns

In this essay, I attempt two things: to see in what ways Karnad achieves in Naga-mandala an interface between myth and history, and from a feminist perspective, resurrects through such interface her-stories. At the same time, I shall explore how despite the play's emphasis on women's stories, the act of telling and, by extension, its potential to engender lasting change continues to be circumscribed by the strictures of phallocentric myth so that the vision offered at the end of the woman-centric play remains, from the feminist point of view, deeply problematic albeit productively so.

Intersections: Gender and Sexuality in Asia and the Pacific

Girish Karnad's Naga-mandala: Problematising Feminism

SAWNET: South Asian Women's Network

Rev. of Juki Girls, Good Girls: Gender and Cultural Politics in Sri Lanka’s Global Garment Industry by Caitryn Lynch.

Sleep and Vigilance

Association Between Pittsburgh Sleep Quality Index Factors, Academic Performance and Health

Balkan Journal of Philosophy

Conceptualising the Self:The Role of Narratives

Introduction to Special Issue "Maritime Transmodernities"

The Contours of a Field: Literatures of the Indian Ocean

Nethra

Colonial Cousins: Mohandas Gandhi, Leonard Woolf, and the Place of the Rural

Martin Wickramasinghe (1890-1976), often called the Bard of Sri Lanka, had a long writing career spanning many decades and was also concerned with the dynamics of the changing village in Ceylon (as Sri Lanka was called until 1972). Along with Ediraweera Sarachandra, Wickramasinghe was at the forefront of literary realism in the 20th&nbsp;century: his book Landmarks of Sinhalese Literature&nbsp;(1948) established a pioneering model of criticism for social realism that was to influence several writers for many decades in Sri Lanka. It was a model that tied in with Wickramasinghe's anti-colonial politics and one of the central essays in Landmarks&nbsp;was on The&nbsp;Jātakas upon which Wickramasinghe drew in order to examine the modes of realistic writing that he felt best represented Ceylonese life and culture. And yet, it is a curious paradox that,&nbsp;in his own novels,&nbsp;Wickramasinghe&nbsp;never employed the kind of realism he extolled in&nbsp;The&nbsp;Jātakas, taking for his own model the psychological realism of European masters, especially the Russians. What explains this paradoxical approach to social realism as a representational mode? Indeed, how does one examine the question of Wickramasinghe's literary style which straddles the European and the Ceylonese? This article explores Wickramasinghe’s own discussion of specific&nbsp;Jātaka tales in order to understand what constituted for him the locus vivendi&nbsp;of Sinhala literature in the middle of the last century. It is a template that provides a compelling counterpoint to the adaptive examples one finds in India, where The&nbsp;Jātakas remained at the peripheries of the question of realism. Instead, in Indian literatures (in English as well as Hindi and Malayalam, two of the more established vernacular languages), realism took on very different functions. This article attempts to create an orbital reading of these multiple traditions bearing upon the pivotal legacies of The&nbsp;Jātakas.

Polygraphiques

Rewritings of the Jātaka Tales in Colonial and Postcolonial Texts

The essay turns to Punyekante Wijenaike’s 1971 novella, Giraya, to study the ways in which the Gothic features as a framing device for the exploration of the gendered and ideological domain of home in twentieth-century Sri Lankan writing. The walauwe or feudal manor is transformed, in Wijenaike’s novella, into a spectral space that challenges the prevailing nationalist discourses and literatures which fashioned the Sri Lankan nation as a rural utopia. Nostalgia and visions of national utopias give way to terror and dislocation as the fragmentary narrative of Giraya calls into question, from the very heart of the idealized nation – its home – the representational powers of the ordered social realist novel, Sri Lanka’s most dominant literary genre in the post-Independence era