Petal of Blood by Nagugi Wa Thiongo

Petal of Blood by Nagugi Wa Thiongo

This blog is the part of thinking activity task of the paper The African Literature assigned by Megha madam. In this blog I am going to analyse two articles based on the Petals of the Blood.

Postmodern spirit in Ngugi Wa Thiong’o’s Petals of Blood based on the concepts of Homi K. Bhabha

This article is written by Ms. Sharifa Akter. Before delving into the novel let us understand what is postmodernism.

Postmodernism is basically concept which emerged in the mid 20th century. This unfolds as the reaction of the modernism. If one look at the difference between modernism and post-modernism it can be understood by this table.

Post-modernism inspired by the Derridian theory of the deconstuction and free play of the meaning. It rejects the binary oppositions of white and black, high and law, upper and lower etc. On the one hand it celebrates the fragmentation and disunity and on the other hand it narrates the stories from the side of the margin. Marxism developed and later on postcolonialism emerges. Theorists like Edward Said, Frantz Fanon, Aimy Caesar and Egelton talked about the ideas and ideologies of the colonialism.

The process of the decolonization was in the air and it leads to the emergence of the theory of the subaltern inspired by Antonio Gramsci's idea of hegemony. One of the known postcolonial Indian theoriest is Homi.K.Bhabha. His theories is postmodenist in nature including ambivilence,mimicry, hybridity, third space and so on. In his seminal work The Location of Culture he argued in detail about this theories. Here is the video providing brief understanding of the postcolonialism.

Let us understand the concept of the Bhabha,

1. Mimicry : 

Mimicry is a postcolonial theory term that describes the way colonized people adapt to the culture of their colonizers, while also changing it in important ways. It can be a survival strategy and form of resistance that challenges the cultural superiority of the colonizers. 

1. Hybridiry : 

In postcolonialism, hybridity is a concept that refers to the creation of new forms that emerge from the contact between colonizers and colonized people. The term is often used to describe the mixing of cultures, languages, or other aspects of identity. 

3. Ambivelence : 

Ambivalence in postcolonialism is the conflicting feelings and attitudes between colonizers and colonized people. It can manifest as a sense of blessing and curse. 

One of the major themes in Ngugi’s novel is the deceptiveness of any notion of an epistemological rupture between colonial and post-colonial society. And the wider significance of the postmodernism condition lies

according to Homi K. Bhabha 

“in the awareness that epistemological ‘limits’ of those ethnocentric ideas’ which

is also ‘the enunciative boundaries of a range of other dissonant, even dissident histories and voices-women, the

colonized, minority groups, the bearers of policed sexualities”

(Bhabha, 2004)

Ngugi Wa Thiong’o’s Petals of Blood is a rich narrative that combines postmodern and postcolonial themes to critique neo-colonialism and its effects on society. Homi K. Bhabha’s concepts of ambivalence, hybridity, and mimicry, Ngugi examines the transformation of Ilmorog, a Kenyan village, and highlights the fragmented identities and struggles faced by its people. 

1. Reversing Colonial Binarism : 

Ngugi’s novel reverses colonial binaries that place the West as superior to the colonized. He critiques how colonialism and neo-colonialism impose a hierarchical structure. As Homi K. Bhabha states in “The Other Question,” colonial discourse produces the colonized as an “Other” but seeks to control and define them.

In Ilmorog, the village’s transformation into a proto-capitalist society mirrors this binary. The new Ilmorog is divided into Cape Town, the residential area for the elite, and New Jerusalem, a shantytown for workers and the unemployed. The division reflects the imposition of Western capitalist structures, which exacerbate inequalities and fragment identities.

2. Hybridity and Cultural Transformation : 

Hybridity, as explained by Bhabha, emerges when elements of the colonizer’s culture intermingle with those of the colonized. This creates a new identity that challenges the authenticity of cultural purity. Ngugi demonstrates this through the fragmented identities of Ilmorog’s people. Workers and peasants adopt Christianity, modern schooling, and banking systems, reflecting a mimicry of Western values.

However, these changes lead to economic exploitation and loss of cultural integrity. For instance, the villagers take loans to buy imported fertilizers but fail to repay them, leading to displacement and poverty. In the case of Wanja's character and Nyakunya they lost their land and displaced from their own land. 

3. Ambivalence in Postcolonial Society : 

Ambivalence, a key concept by Bhabha, describes the coexistence of opposing feelings or attitudes toward the colonizer. It reflects the colonized subjects’ simultaneous admiration and resentment for the colonizer. Characters like Munira and Karega embody this ambivalence. Initially united against British colonialism, they grow jealous and mistrustful of each other in the neo-colonial period.

Munira, the school teacher, and Abdullah, a former Mau Mau fighter, represent the duality of pre-colonial resistance and postcolonial betrayal. Abdullah, once a symbol of resistance, becomes a shopkeeper, adapting to the capitalist economy.

4. Mimicry and Its Consequences : 

Mimicry, according to Bhabha, involves imitating the colonizer’s culture but always falling short. This imitation creates a sense of being “almost the same but not quite.” In Petals of Blood, villagers mimic the colonizer’s systems by embracing modern institutions like banks and schools. However, this imitation leads to further subjugation rather than empowerment.

Wanja, a key character, epitomizes mimicry. She starts as a barmaid and later becomes a high-paid prostitute, adapting to the exploitative capitalist society. Her struggle to find a place in this new society highlights the failure of mimicry to deliver true liberation.

5. Fragmented Protagonists : 

Ngugi’s characters reflect the fragmented identities caused by colonialism and neo-colonialism.

1. Munira: A teacher who initially resists colonial authority but becomes passive and unsure of his role.
2. Wanja: A strong yet conflicted character who moves from being a successful businesswoman to a prostitute. Her journey mirrors the exploitation of women and the commodification of relationships in a capitalist society.
3. Karega: A political activist who dreams of resistance but struggles with disillusionment.
4. Abdullah: A former Mau Mau fighter who reinvents himself as a shopkeeper but faces continual marginalization.

6. Women’s Struggles and Agency : 

Wanja is a central character whose life exemplifies the exploitation of women in a capitalist, patriarchal society. Despite her struggles, she fights back, symbolizing Kenya’s fight for independence. Wanja attempts to organize the dispossessed workers of Ilmorog into a protest. Her statement, “I’ll struggle against these black oppressors alone,” reflects her determination to challenge the new colonial system.

7. Neo-Colonialism and Capitalism : 

The novel critiques neo-colonialism, where African elites ally with foreign powers to exploit their own people. The trans-African road built through Ilmorog connects it to international capitalism but leads to the village’s exploitation. Residents lose their lands and are forced into low-paying jobs in the city.

8. Critique of Theory and Authority : 

Bhabha critiques the elitism of Western theories and advocates for a more inclusive approach to knowledge. This aligns with Ngugi’s critique of imperialism as incapable of developing Kenya. In Writers in Politics, Ngugi states that imperialism cannot help Kenyans. This is evident in the novel, where the introduction of capitalist practices leads to further exploitation rather than progress.

Ideological Orientation of Ngugi Wa Thiong’o’s Petals of Blood 

Ideological orientation refers to a set of beliefs, values, and ideas that shape how individuals or groups understand and interact with society. In literature, it is often a tool to analyze societal, political, and cultural structures. Ngugi Wa Thiong’o’s Petals of Blood reflects ideological orientations rooted in Marxism, postcolonialism, and African nationalism.

Postcolonialism and National Identity :

Ngugi critiques the illusion of freedom after Kenya's independence from British colonialism. He questions whether the nation truly achieved independence or simply transitioned into neo-colonial structures. Ilmorog, a fictional village, symbolizes postcolonial Kenya. Its residents face drought and oppression, eventually becoming victims of capitalism and bureaucracy. The village's transformation into a capitalist hub highlights the ongoing exploitation even after independence.

Fanonian Marxism : 

Ngugi draws on Frantz Fanon’s ideas, focusing on the psychological and socio-economic impacts of colonization. He portrays characters who grapple with class struggles and the aftermath of the Mau Mau rebellion. Abdullah, a former Mau Mau fighter, becomes a disabled shopkeeper, symbolizing the unfulfilled promises of freedom. His struggle reflects the broader challenges of decolonization and identity.

Class Struggles and Capitalism : 

The novel critiques the rise of a capitalist elite that perpetuates inequality, mirroring colonial exploitation. Wanja, a central character, transitions from a hopeful woman to a prostitute in New Kenya. Her life underscores how capitalism commodifies human relationships and degrades social values.

Language and Culture : 

Ngugi uses language as a tool to decolonize literature. While he writes in English, he incorporates African terms and cultural references to assert Kenyan identity. The phrase “agu and agu, tene wa tene” merges English with African linguistic traditions, emphasizing cultural resilience and identity.

Critique of Neo-Colonialism: 

Ngugi shows how colonial power structures persist through capitalism and elitism, undermining genuine freedom. Decolonization Through Literature: By blending African culture with English, Ngugi challenges the dominance of colonial languages, presenting an authentic Kenyan voice. Feminism and Postcolonialism: The representation of Wanja highlights the intersection of gender and postcolonial struggles, calling for broader societal change.

Conclusion : 

Petals of Blood combines postcolonial and Marxist ideologies to critique Kenya’s socio-political realities. Ngugi’s narrative emphasizes the importance of cultural identity, collective struggle, and resistance against neo-colonial systems. Through powerful examples and characters, the novel redefines history and offers a lens to understand the challenges of decolonization.

Images : 10 

GIF : 2

Video : 3 

Words : 2098

I would like to acknowlegde chatbots for helping me in arranging the content for this blog. 

References : 

Akter, S. (2014). Postmodern spirit in Ngugi Wa Thiong’o’s Petals of Blood based on the concepts of Homi K. Bhabha. https://www.semanticscholar.org/paper/Postmodern-spirit-in-Ngugi-Wa-Thiong%27o%27s-Petals-of-Akter/74721bb678dfcd55bc019758d7c885e1f72e7227

Bhabha, H. K. (2004). The location of culture. Psychology Press.

mistersato411. (2023, October 7). What is Modernist Fragmentation? (Modernism 4) [Video]. YouTube. https://www.youtube.com/watch?v=kAxEJbKN0q0

Tasnim, S. (2019, August 12). Ideological Orientation of Ngugi Wa Thiongâ€^TMoâ€^TMs Petals of Blood. https://ijels.com/detail/ideological-orientation-of-ngugi-wa-thiong-o-s-petals-of-blood/

Thiong’o, N. W. (2005). Petals of blood. Penguin.

ThAct: Flipped Class Activity: The Ministry of Utmost Happiness

 The Ministry of Utmost Happiness

This blog is the part of flipped learning activity of the unit The Ministry of Utmost Happiness. In this blog I am going to provide my understading of the assigned video task. This activity is designed to enhance our understanding of the video content and improve our ability to synthesize and summarize information effectively.  

Opening of the novel by the Roy

Video 1 : 

In this video, a detailed analysis of the 5 main settings of the novel has been given:

1. Khawabgah

2. Jannat- Graveyard

3. Jantar Mantar

4. Kashmir

5. Dankarany

The video begins by giving the example of "what kind of suffering a sapling will feel when they are planted in new land?" This question is connected to how an identity crisis occurs in literature. "Mul sota ukhdi jata manso" what we call in Gujarati. The minority that is marginalized every time.

The very first character was Anjum/Aftlab, child of Mulakat Ali and Jahanara Begam, which means "Mehfil." Jahanara Begam is feeling a series of emotions when she realizes her child is of the third gender. At first, shock, then pain, and finally, a complex mix of emotions, including surprise. She realized that there are no specific words for the third gender in the Urdu language and the only words are Hijra/ Kinnar. The scene starts from the Jannat where Anjum and Ziaudin are having a conversation.

The concept of language is important here as Derrida said that language is inherently disabled from giving meaning. New vocabulary, sentences, and language are needed to define the third gender, and this core question is raised by Arundhati Roy. "Fitrat" means the inherent nature of the human decides the gender of a person, whether they are male or female. Bombay Silk, one of the most beautiful Hijras, becomes the source of attention and motivation for Aftab to go to the Khawabgah. Khawabgah is an entirely different place for the third gender where they have their own world. This name reminded me of the recently released web series Hiramandi, where prostitutes and third-gender people live.

Additionally, we jumped to the next setting of the story, Jantar Mantar, and its connection with Khawabgah. Now this place has a show where the history of the Mughals is depicted. Begam Kulsoombi every year takes the entire community there to show the history of Hijras, while showing the history of the Begams of Mughals, the role of the Hijras is also revealed. However, slowly and steadily, this history is erased by the storyteller. The importance of the story, as Chimamanda Adichie said, and the erosion of history are burning questions touched upon by Roy.

Along with this, the history of Aurangzeb and Hazrat Sarmad-Abhay Chand unfolds. The technique of postmodernity, where even Salman Rushdie did de-doxification with English, similarly, Roy does with the grand narrative of Hazrat Sarmad. The way the head was compared to the helmet and the mockery of the grand narrative have occurred. With this, the lineage of Mulakt Ali and his connection with Temujin, Changez Khan, and Chagtai Mughal unfolds.

Moreover, the connection between religion and the ruler is like two sides of the same coin. It is easier to spread it across the world, whether it is Aryans, Mughals, Britishers, or anyone else. The archetype of the abduction of people on the motif of love or revenge appears. Aftab, now Anjum, adopted Zainab. Gradually, Zainab gets ill, and Anjum accuses Saeeda for this and decides to visit Zakir Miyan, and they went to Ahmedabad. The episode of the Godhra Kand appears where Anjum lost Zakir Miyan. She was saved because killing a Hijra will bring ill omen to the people. It has given trauma and an existential crisis to her.

Video 2 : 

The second video talks about the further story. It started from the Jantar-Mantar. The other side of the Jantar-Mantar, which is often known as a protest site, is revealed. The important character of Saddam Hussein appears. Sangita Madam represents an agency that symbolizes the corruption of the hospital and security guards. The episode of the mob lynching unfolds, and human dignity in behavior is lost. The character of the Sheravat police is introduced, and he symbolizes police corruption. Another character is Tabi, an Old Gandhian, a caricature of Anna Hazare, and Mr. Agrawal as of Kejriwal. These episodes were widely covered by the media, which is known as the saffron parrot, and other incidents were absent. The groups that were there were like:

1. Mothers of the Disappeared - Kashmiris
2. Manipur Nationalists - AFSPA [Armed Forces Special Protection Act]
3. This alludes to the real incident of Irom Sharmila fasting and the naked women protesting.
4. Delhi Kabadiwala
5. Bhopalies - Gas Kand
6. People who want Hindi language as the national language
7. Mr. Azad Bhartiya

This character is interesting to look upon, as the name itself is ironic, and this character delves into various mishappenings. Roy, by giving this description, highlights the role of the media and the absence and presence of coverage.

Video 3 : 

Third video started with the first person narrative of the Biplab Dasgupta who is landlord,Intelligence beurocret. In his family two daughters Ravia and Amiya and wife Chitra is there. The setting of the story is changed to Delhi. All the characters meet at the Jantar Mantar. Aftab, Sadam Husain, and  Mr. Agrwal jump into the quarrel about keeping the suddenly found baby. Meanwhile the baby lost putting the story on the hanger. On the other hand the gruop of characters introduced. Tilo means Tilotamma archetectural programmer  who actually critic says represent the Roy. Nagaraj Hariharn, a journalist later the husband of the Tilo. Musa Yeswer, a terrerist. 

Intresting backstory has been told of his wife Arifa nad daughter Jabeen's death. It was the army who shoot the bullet and that single bullet kills Arifa and Jabben. This became easy cause for Musa to be the terrorist. This is a kind of the archetype which often reveles the sympathetic side of the terrorist. This soft narrative make this problematic because the justification of the terrorist is not always right at the same time silence on the narratives of the Kashmir pandit is also somewaht makes it different. 

Tilotama's mother Mariayam Ibe shares parellel with the mother of the Roy. another character Khadiza Ahezaz also introduced. Jabeen the second, suddenly founded child was mistry in the narrative. Another important character is of the Amrik Singh, the Inspector and his wife Pinky Singh. Amrik singh throughout his life tortured the people and did  atrocity on the people. One of the victim of the Amrik Singh is Musa and that is why he nurtures revenge for him. Another parelle was reveled when the news came that Amrik Singh killed his wife and childeren makes Musa suspecs because he had the fake passport. However, it was he himself who in the guilty conscious did this. This story reveles how the mental truma people had when they as part of their duty tortured other. This reminded me of Frantz Fanon's Wretched of thr Earth where French colonizer had the same truma. 

With this the character of SEP Pinky Sodhy and Balbeer Sodhy introduced. Malik who died in this did the Lal Salam symbolises his connection with Maosit Troup. Anjum said to Ms. JAbben the second that you are the daughter of the six father and three mothers. The last line of it is that, 

"One day Kashmir will make India Self-distruct." 

Video 4 : 

This story comes together at the end because of Dr. Azad Bhartiya. We learn that Saddam got married to Miss Udaya Jebeen, and they now live at the Jannat Guest House. Tilo also teaches at the Jannat Graveyard.

Musa spends his last night at the Jannat Guest House with Tilo, the woman he loves. They are close and know that Musa will soon leave for Kashmir, and this might be their last time together. Tilo talks about her life at the guest house, reads a poem that shows how she thinks differently, and shares her ideas about stories and who we are. Musa is really touched by how special and unique Tilo is. He thinks about a sad story of a young man who died in Kashmir, which reminds him that hope and sadness can exist at the same time.

Meanwhile, Anjum, who is transgender and owns the Jannat Guest House, walks around the graveyard she takes care of and thinks about her life. She takes Miss Udaya Jebeen, a child she looks after, for a late-night walk to show her the city at night. These quiet moments are different from the bigger stories about love, loss, and war that Musa and Tilo are experiencing.

The story ends with a feeling of hope. Anjum is strong and shows that life can go on, even for Miss Jebeen. Even small things, like a dung beetle working hard, show that life continues. Even though there are sad things in the story, there's also a feeling that things will be okay in the end.

Video 5 : 

In this video, thematic concerns are discussed. 

1. The Nature of Paradise:

   

Roy talks about paradise as it is often said, "one has to die for paradise." However, Roy's paradise is a secular place. The novel discusses the binary of Heaven and Hell. Here, heaven is for the marginalized, a contradiction between Duniya (world) and Khawabgah, which itself represents a dreamy, utopian place. More than Khawabgah, it is Jannat Guest House that makes it more like a paradise. But the setting of the Jannat Guest House is a graveyard, making it contrary. This is a place where everyone is welcomed irrespective of their caste, gender, race, or background. Roy's idea here is to create a secular paradise, which is also needed in real life. The way Indian languages live together harmoniously, similarly, the coexistence of people, animals, and so on.

2. The Importance of Ambiguity and Diversity:

The ambiguity first appears in the character of Anjum, where her self-identity is questioned. Anjum and Mr. Agrawal had a quarrel over the child, which is ambiguous. Diverse characters from different parts of India are merged in this novel. Diversity in culture, language, and living is so much necessary, as Shishir Kumar Das argues in his article. These diverse people come to the Jannat Guest House, and it becomes a hub for them. 

3. The Cost of Modernization:

This novel criticizes the idea of Modernization, which can be classified as "development" as P. Sainath said. India is developing, and multinational companies grow all over India, and this works on the idea, as Sainath says, of "St. Growth," "St. Development." Characters like Saddam Hussein became victims of this. Similarly, Anjum, Tilotama, and Mr. Agrawal reveal the side effects of modernization. This growth leads to the displacement of a large group of society. Political parties spread nationalist ideas symbolized as saffron parakeets.

4. The Boundaries Between Death and Life:

The idea of death is connected to the setting of the Jannat Guest House. The second burial ceremony of Musa, Revathy, and other characters marked their forever living. These characters grappled with atrocity and turned out to be real heroes. At the same time, the living characters of the novel somewhere face symbolic death, whether it is Anjum, Tilo, Captain Amrik Singh, and so on.

5. How and Why Stories are Told:

That's what makes Roy different, and it is her postmodern way of storytelling. She tells the story achronologically and in fragments. It is like a shattered mirror where every character tells their own story. As Chimamanda Adichie said, it is important to tell the story, Roy used different people, genders, and caste representatives to tell the story. We are well aware of the champion of history alteration where some stories are added at the same time, some erased. This leads to questioning the way stories are told, especially through the incident of Saddam Hussein and his backstory, the history of the Hijra people, the story of Revathy through letters, and so on.

6. Social Status in Contemporary India:

India has different parameters to decide the status of people. The marginalized group of society often struggles to make their space. India's majority elite class often uses its hegemonic power over this. Characters like Anjum, Tilo, Musa, especially became victims of this. Making space for the third gender, female, or the Chamar is so difficult. Amrik Singh, SEP Pinky, Saffron Parakeets had hegemonic power, so they ruled over that.

7. Corruption, Political Violence, and Capitalism:

Arundhati, in the novel, reveals the corruption lying in society. In the case of the Kashmir conflict, especially where the shrine economy worked, but by portraying it as a terror place, it destroyed the economy of the residents. Politics is very much in the air throughout the novel. Whether it is 9/11, Godhra Kand, Kashmir crisis, or Danakaranaya, most incidents. Capitalism is the driving force for all of this because this ideology works on the idea of profit, neglecting minorities.

8. Resilience and Hope:

The novel's ultimate aim is hope, though it is a postmodernist novel. Arundhati Roy, through the character of Anjum, Saddam Hussein, and Zainab's love, Musa's proud death, Tilo's poetry, Ms. Uadaya Jabeen's birth, and the dung beetle, symbolizes hope throughout.

9. Gender Identity, Social Division, and Coexistence:

Anjum is a transgender woman who was born with both male and female characteristics. This makes her challenge the idea that there are only two genders, male and female. Because Anjum is a Hijra, she can move between being seen as masculine and feminine. This shows that gender is not something fixed but can be more flexible and include different ways of being. Roy compares the struggles of Hijras with the violence that happened when India and Pakistan separated. Both situations show how dividing people into groups based on gender or nationality is wrong and unnecessary. Through Anjum's story, Roy argues that we should embrace our differences instead of dividing ourselves. Anjum's identity as a Hijra becomes a symbol for how different groups, like Hindus and Muslims, and even countries like India and Pakistan, can live peacefully together.

10. Social Hierarchy vs. Social Inclusivity:

This novel challenges the idea of hierarchy. Jannat Guest House becomes the place where people lived together irrespective of their hierarchy. This inclusion makes the characters of Anjum, Tilo, Musa, and Saddam Hussein different.

11. Religion and Power:

We witnessed that religion and power often go hand in hand. The character of Gujarat ka Lalla misused religion, rather manipulated it, to threaten the majority and to be in power. Roy argues the agenda of Marx that religion is an opium which helps political leaders and evokes mistrust, constant danger in the people.

Video 6 : 

• Hazrat Sarmad Shaheed: This person was originally Jewish but became Muslim to be with the person they loved. They were killed for questioning their beliefs. Even though many people don't know the full story, their shrine represents love that goes beyond differences and celebrates spirituality and love. Roy attempted to mock this character by comparing his action of taking up his head as helmet. 

• The Old Man-Baby: This man becomes a symbol of hope when he goes on hunger strike to protest corruption. But his protest, led by wealthy people, becomes more about the excitement of protesting than actually making real change. He also starts to align with Hindu nationalists, showing the conflict between good intentions and real-world problems.

• The Shiraz Cinema: This cinema in Kashmir was first closed by people who saw it as a symbol of outside influence. But then the Indian Army turned it into an interrogation center, showing how cultural and military control are connected. This shows that extreme actions can sometimes lead to even worse problems.

• Jannat Guest House and Funeral Parlor:
  
  
  This place, built by Anjum in a Muslim cemetery, is a symbol of welcoming people from all backgrounds. It represents an ideal India where everyone is accepted. But it's also near death, reminding us that life is fragile. The name "Jannat" (heaven) suggests a perfect place beyond our world.

• Duniya and Jannat: In the book, "Duniya" (world) and "Jannat" (heaven) are different but sometimes blend together. Places like the Khwabgah offer escape from the real world, but other examples show that paradise and reality can exist together.

• Motherhood: The book shows that motherhood is complex. Characters like Anjum and Tilo face challenges and difficulties. It criticizes the idea of a perfect "Mother India" and shows that motherhood can be different and inclusive.

• Bodies, Refuse, and Internal Organs: In the book, bodies and waste represent resistance against the caste system. People from lower castes often have to deal with waste. Waste can also be a way to protest. The "Sound and Light Show" shows how history is changed to fit political goals. Vultures, who are endangered, symbolize groups that are threatened by social and economic changes.

• Gujarat ka Lalla: This character represents Narendra Modi, a politician who supports Hindu nationalism. His actions foreshadow the growing threat of this ideology.

• The Color Saffron: Saffron is a color associated with Hindu nationalist groups, representing violence and aggression. It reminds us of the violence these groups can cause.

• Vulture:
  
  
  The book compares the death of vultures to the silencing of artists and thinkers who question the government. When a country focuses too much on power and the military, people who question things are suppressed. This shows the decline of different voices and ideas.

• Guih Kyom, the Dung Beetle: The book ends with hope, symbolized by the dung beetle. It shows that even small, insignificant things can play a vital role in the environment. This teaches us that we need to protect the earth and avoid destroying it.

Thank You. 

I would like to acknowledge the chatbots for correcting the grammar and generating the images.

References : 

DoE-MKBU. (2021a, December 28). Part 1 | Khwabgah | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=-29vE53apGs

DoE-MKBU. (2021b, December 28). Part 2 | Jantar Mantar | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=gr1z1AEXPBU

DoE-MKBU. (2021c, December 28). Part 3 | Kashmir and Dandakaranyak | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=cIKH_89rML0

DoE-MKBU. (2021d, December 28). Part 4 | Udaya Jebeen & Dung Beetle | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=VH5EULOFP4g

DoE-MKBU. (2021e, December 30). Symbols and Motifs | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=UbBOqLB487U

DoE-MKBU. (2021f, December 30). Thematic Study | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=5NYSTUTBoSs

Penguin Books South Africa. (2018, August 13). The Ministry of Utmost Happiness by Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=_JAOmFlMlMc

Plagiarism and Academic Integrity

 Plagiarism and Academic Integrity

Hello, 

This blog is the part of thinking activity task of the unit 2 Plagiarism and Academic Integrity of the paper Research Methodology. Let us strart by understanding what is academic integrity. 

As student of English Literature we are bound to be intrested in academic integrity, I've often pondered how the digital age has transformed the way we handle information. Remember the days when research meant spending hours in libraries, carefully taking notes from physical books? When I heard my teachers did that it was shocking for us. Now, with just a few clicks, we can access vast amounts of information and unfortunately  fall into the trap of what I call the "copy-paste syndrome."

What Really is Plagiarism?

At its core, plagiarism is like wearing someone else's clothes and claiming they're yours. It's presenting another person's ideas, words, or work as your own without giving them proper credit. But it's more than just copying and pasting text - it's about intellectual honesty and respect for creative work.

According to the MLA Handbook Plagiarism derived from the Latin word plagiatius ("kidnapper"), to plagiarize means"tocommitliterary theft" and to "present as new and original an idea or product derived from an existing source". 

The Many Faces of Plagiarism : 

Through my academic journey, I've encountered various forms of plagiarism, some more obvious than others. Let me share some interesting types I've learned about:

The Complete Clone : 

Think of this as photocopying someone's entire work and putting your name on it. It's the most blatant form of plagiarism  submitting another's work word-for-word as your own. We have witnessed a number of wellknown people submit an entire article from a blog as their original work. Needless to say, it didn't end well.

The Lazy CTRL-C :

This is when someone takes significant chunks of text from a single source without making any changes. It's like taking ingredients from someone else's recipe but claiming you created the dish from scratch. In today's digital age, this has become increasingly common due to the ease of copying and pasting.

The Word Switcher : 

This clever but dishonest technique involves changing a few key words while keeping the original content essentially the same. It's like repainting a car and claiming you built it. I've seen students replace words with synonyms, thinking this makes their work original - it doesn't.

The Remix Artist : 

This involves taking bits and pieces from multiple sources and weaving them together. While it might seem more creative than straight copying, without proper attribution, it's still plagiarism. It's like creating a music remix without crediting the original artists. You know that papercollage kind of art. 

The Self-Recycler :

Have you ever been tempted to reuse your old work for a new assignment? That's self-plagiarism or recycling. Even though it's your own work, submitting the same piece for different purposes without disclosure is academically dishonest. I know this is also called narcissist trait where one may give lots of importance to one's ownself. 

Why Academic Integrity Matters: A Personal Perspective

Academic integrity is the backbone of educational and intellectual growth. Let me explain why it's so crucial in today's world. When we properly cite sources and create original work, we're not just following rules we're participating in the age-old tradition of knowledge building. Each properly cited piece of work is like adding a well-labeled brick to the edifice of human knowledge.

Creating original work forces us to think deeply about our subject matter. When we resist the temptation to copy-paste, we develop our analytical and creative abilities. It's like exercising our mental muscles instead of using someone else's strength.

In our digital age, where information is readily available, respecting intellectual property is more important than ever. It's about acknowledging that behind every piece of writing, every idea, and every discovery is someone's hard work and dedication. Academic integrity ensures that degrees and qualifications maintain their value. When we compromise on integrity, we devalue not just our own education but the entire academic system.

 

The habits we develop in academic life carry forward into our professional careers. Understanding and respecting intellectual property rights and maintaining ethical standards are crucial skills in any profession. When we push ourselves to create original work, we often discover new perspectives and ideas. Plagiarism, on the other hand, stifles creativity and innovation.

Academic integrity is about more than just following rules  it's about developing personal ethics and responsibility. It teaches us to be accountable for our work and honest in our endeavors.

We need to move from a culture of "getting by" to one of genuine learning and creation. This means: 

• Valuing the process of learning over just getting grades
• Understanding that mistakes and imperfect work are part of learning
• Creating an environment where asking for help is encouraged
• Developing time management skills to avoid last-minute pressures

Conclusion : 

Academic integrity isn't just about avoiding plagiarism - it's about contributing meaningfully to the world of knowledge and ideas. In our fast-paced digital world, where information is abundant and easily accessible, maintaining academic integrity might seem challenging. However, it's precisely this environment that makes integrity more important than ever.

Remember, every time we choose to create original work and properly acknowledge our sources, we're not just following academic rules we're participating in the noble tradition of honest intellectual discourse and contributing to human knowledge in our own unique way. And particularly if you are going to be part of academia than be sure you don't have escape route. 

Thank You.

Words : 1568

Images : 7

GIF : 1

Videos : 

References : 

America, M. L. a. O. (2009). MLA Handbook for Writers of Research Papers.

6 Consequences of Plagiarism. www.ithenticate.com/resources/6-consequences-of-plagiarism.

“About the Academic Integrity Tutorials | Northern Illinois University.” Northern Illinois University, www.niu.edu/academic-integrity/about/index.shtml.

FutureLearn. “Updates, Insights, and News From FutureLearn | Online Learning for You.” FutureLearn, 25 Oct. 2022, www.futurelearn.com/info/courses/prepare-to-study-uk/0/steps/48595.

Indian Institute of Science. iisc.ac.in/about/student-corner/academic-integrity.

LibGuides: Citation Styles: Academic Integrity and Plagiarism. libguides.asu.edu/citing/AcadIntegrity.

Parmar, Milan. “Plagiarism, Its Forms and Academic Dishonesty.” milanparmar94.blogspot.com/2017/04/plagiarism-its-forms-and-academic.html.

Turnitin - the Plagiarism Spectrum. www.turnitin.com/static/plagiarism-spectrum.

UNC-Chapel Hill Writing Center. “Academic Integrity – the Writing Center • University of North Carolina at Chapel Hill.” The Writing Center • University of North Carolina at Chapel Hill, 14 May 2024, writingcenter.unc.edu/esl/resources/academic-integrity.