The need for technology in classrooms, particularly language classrooms, was envisaged way back in the 1970s, and ever since there has been attempts to blend socio-constructivist theories of language learning using a technological interface. The last decade witnessed an unprecedented digital penetration across the world, resulting in demand for agility in approach and outcome-driven curriculum. This led to revisions in classroom pedagogy, pedagogic principles, and the concept of classroom itself. Digital revolution in India coincided with economic liberalization and attempted to update the curriculum to achieve global standards. In fact, in the urban quarters of the nation, the classrooms have been growing smarter with learners having access to worldwide information network and teachers acting more as facilitators than sources of information. However, the needs and readiness of learners are as diverse as the vast socio-geography of the nation. This paper probes into the diverse learning contexts of India and analyzes the technological intervention in the language classrooms. Discussing the manifold challenges to be overcome at every level, the paper surveys the effectiveness of Technology-Enhanced Language Learning (TELL) in the Indian context and studies its future scope in transforming the education system.

By situating the problematics of Global English in the context of India's decolonization-a nation, which according to the 2011 census, has only 10 percent English speakers-the paper highlights the flawed postcolonial epistemology and the way it ignores the alternative knowledge traditions available in other languages. It also attempts to raise and examine questions on the role of the remaining 90 percent of the population and the way they imagine and construct the postcolonial India. What role do these large sections of the Indian population have, if any, in registering their voices to narrate the nation? What kind of resistance strategies are needed to counter this Euro-centric hegemony? Set against the backdrop of such pressing questions, the paper suggests that one needs to fervently engage with and reinvent ways to energize the rich Indian traditions available in languages other than English. The paper argues for an imperative need to contextualize new methodology and pedagogy to offer resistance to the English hegemony and for a more effective cognitive decolonization.

Film viewing and Film Studies are two distinct tasks. While the former is a popular leisure activity, the latter is an academic discipline. Teaching film in a classroom amounts to teaching the formal properties of the medium of film. The challenge to retain the interest of the learners in a French Studies class is the same as in any other class. This paper focuses on the task of teaching French New Wave cinema in comparison with Indian New Wave Cinema to MA (French) Second Year (Third Semester) students in The English and Foreign Languages University (EFLU), Hyderabad. The French New Wave was an important cinematic movement in French cinema, which started in the late 1950s. Based on the auteur theory, it revolutionized the world of cinema with its unique language and grammar. One can see its impact on the films of Indian New Wave, which started in the late 1960s. To enable the learners to understand and respond to the cinematic imagery of the French New Wave, the paper has incorporated a specific pedagogical strategy which includes: in the first stage, giving general information on French New Wave, its history, ideology, and theory; the second stage would concentrate on explaining the cinematic techniques of this movement; and the final step would involve showing an Indian film of the New Wave. The third stage would also lead to an evaluation where the learners would be asked to draw comparisons and trace the similarities and differences between the two films, one from France and the other from India, both belonging to the New Wave.

The mainstream literature hitherto has not been adequately inclusive of many literatures that are still in the phase of orality. Indigenous peoples create their literatures in their languages spontaneously, and this grows in the form of a tradition across generations. Folk literature is replete with human sense and sensibilities since indigenous people live in direct contact with nature. Far away from the progressive model of humankind, the sustainable life patterns of these people keep them ever fresh and new. Rajasthan is a land of bhakti and shakti. The area known as Mewar is the habitat of the Adivasi community. The Adivasi people sing vibrantly to celebrate every aspect of their lives. This paper aims at analyzing the Adivasi folk songs of the Mewar region in terms of inherent themes. Mirth, melancholy, excitement, festivities, birth, death, creation, marriage, and so on can be found in these songs. As a result of being limited to orality, these cultural artifacts are endangered. These folksongs, composed by unknown and almost illiterate artists and performers, have the simplicity and sublimity of the human consciousness. This paper also looks into the indigenous mindset and explores the reasons like psychological aphasia and the resultant indigenous ways of dealing with different themes of life.

The interconnectivity between language and social power fabricates the narratives of social hierarchy and domination. Social relations of power, domination, or mutual respect are embedded in interaction between people expressing through language. An analysis of the language will indicate power relations being created, accepted, or contested. Cinema, a medium of conversation, finds its articulation through language. Tapori, an admixture of Bombaiya Hindi, embodies a polyglot culture that does not fix itself within a traditional Hindi/Urdu conflict, rather enters a space where a multilingual street culture inflected with diverse regional accents can be captured in the speaking of working class. Rajkumar Hirani's directorial endeavors, Munna Bhai series (2003 and 2006), incorporate the tapori language and culture for his protagonist Munna Bhai to mirror the class conflicts and social hierarchy between the elite and working class people. By analyzing the tapori culture from social and linguistic perspectives and following Bourdieu's concepts of habitus and taste, this paper thus seeks to answer the following questions: How is Bombaiya Hindi positioned compared to standard Hindi? If tapori as a subculture intermingles with dominant language Hindi, does it have the possibility of social contamination in terms of linguistic hierarchy? What social functions are assigned to tapori language?

Language being social in nature is an accepted norm, and therefore other linguistic attributes like culture, religion, etc. often deliberately intervene in language formation. But within these accounts, the inextricable interrelation between "language" and "geography" has often found inadequate academic attention in Indian mainstream scholarship, despite cultures originating in distinct spaces. Considering this melange within the interdisciplinary frame of Peter Jordan's "Thought on a Concept of Language Geography," the present paper intends to explore the spatio-linguistic sangam (confluence) within and beyond the North Indian city of Allahabad through a critical analysis of contemporary Indian English author Neelum Saran Gour's award-winning novel Requiem in Raga Janki, which offers a rich linguistic blend of English, Hindi, and Urdu. The paper further substantiates that such linguistic sangam or convergence with geography and culture in the textual corpus constructs distinct spatio-linguistic identity where multilingual vivacities do succor postcolonial appropriation politics of language.

This paper attempts to explore the cultural heterogeneity of language and how language transforms in tandem with culture. Amitav Ghosh and Salman Rushdie's works have been noted for the dexterous use of language and the representation of multicultural spaces. Rushdie has succeeded in creating a distinctive style within the tradition of Indian writing in English-his characteristic "chutnification" of English. Ghosh has also created a unique style by extensively blending different Indian languages with English persistently in his works. Both Ghosh and Rushdie explore the juxtaposition of cultural spaces through the linguistic variants used in the historical novels Sea of Poppies and The Enchantress of Florence. The hybrid identities are amplified by the multilingual and multicultural cast of characters populating the novels. Rushdie effectively recreates the cosmopolitan Renaissance atmosphere prevalent in the Mughal era by interweaving the particular cultural identities with the idiosyncratic uses of language. Ghosh's novel is also embedded in a historical context, and the story is unfolded from multivocal perspectives, while simultaneously establishing diasporic identities. Rushdie and Ghosh have thus both explored multiculturalism, hybridity, pluralism, cosmopolitanism, and migrancy in their fiction, and this paper focalizes on these themes from the perspective of language.

Analyzing human language is often a complicated process as it requires dealing with grammatical nuances and linguistic variations of great magnitude. Lack of contextual understanding makes the process of extracting sentiment problematic, but the advances in computational techniques can facilitate the process of regulating the emotion and tone behind a series of texts and derive the attitude, emotion, and opinion of the speaker. Sentiment analysis or opinion mining observes conversations and calculates language and voice inflections to quantify the opinions or emotions of the given database. It is a technique used for determining the expression and tone underlined in the data. Sentiment analysis can be automated wholly or centered on analysis of human or a combination of these two aspects. It provides visual representation of sentiment density and text polarity and enhances the possibilities of interpretation. This paper attempts to analyze personality traits based on computational methods in select novels of Cormac McCarthy. An analysis of the characters portrayed in literary texts is made referring to psychological measurements, employing text analysis tools. The focus is on the efficiency of bringing together advanced text analytics tools and theories of human personality for a better understanding of human personality.

This paper looks into the foundational conceptions of modern linguistics that caused its emergence and continued to support its functional growth to its present form. Providing substantial textual evidence, the paper intends to establish a strong historical and thematic relationship between classical Indian and modern Western approaches to the study of language. Scholars of linguistics would largely agree with the contention that the theses propounded by linguists like Ferdinand de Saussure, Leonard Bloomfield, and Noam Chomsky were very much tied to their study of Sanskrit grammar and its philosophy. To delineate the Painian tradition of grammar, the paper briefly analyzes and introduces Paini's Aadhyay which is considered to be the first systematically documented grammatical work of any language bringing its impact over the existing methods of language study to light. It further discusses the linguistic conceptions that appeared in other major works of Painian tradition, namely, Katyayana's Varttika, Patanjali's , and Bharthari's Vakyapadya. The paper substantiates its claim through the comparative discussion of the similarities between the concepts such as Saussure's linguistic signs and Bharthari's Sphoa theory, Saussure's idea of indivisibility and Bharthari's idea of (monistic approach),'the concept of Psychological entities in both, Derrida's Differance and and Bharthari's abdatattva, Chomsky's Innate Structure and Bharthari's Pratibha, etc. Supporting its claim with textual testimonies, the paper argues that the Painian tradition of grammar informed the core of modern linguistics and associated critical theories like (post) structuralism.