Ishaan AroraWhere Do the Fault Lines Lie?In her modernist retelling of the Mahabharata, Karthika Naïr chooses as the narrators of the epic, characters who in the ‘original’…Aug 26, 2021Aug 26, 2021
Ishaan AroraThe Classic Popular^ or the Popular Classic?: The Proverbial Present Versus the Proverbial Past^Taken from the eponymous title of Dr Nandini Chandra’s book, The Classic Popular: Amar Chitra Katha 1967–2007.Aug 26, 2021Aug 26, 2021
Ishaan AroraThe Woman Who Knew, the Man Who Didn’t: Romantic Relationships in I Want to Destroy Myself and…Manzoor Ahtesham’s, the tale of the missing man (Dastan-e-Lapata) and Malika Amar Shaikh’s memoir, I Want to Destroy Myself both straddle…Aug 26, 2021Aug 26, 2021
Ishaan AroraPremchand’s Kafan: “no single Dalit point of view”Published in 1936, Kafan remains one of the most (if not the most) hotly debated short stories Premchand ever produced. The point of…Aug 26, 2021Aug 26, 2021
Ishaan AroraThe Fragmented Self in Manzoor Ahtesham’s The Tale of the Missing Man or Dastan-e-Lapata: Where…Manzoor Ahtesham’s The Tale of the Missing Man focuses in on the trials and tribulations — or perhaps, the lack thereof — of the…Aug 26, 2021Aug 26, 2021
Ishaan AroraThe Niches within the ‘Masses’: Analysing YouTube as a Popular PlatformThe point where Raymond Williams’ Culture is Ordinary and Pierre Bourdieu’s ‘Introduction’ to Distinction: A Social Critique of the…Aug 20, 2021Aug 20, 2021
Ishaan AroraNormalcy is still a mirageIshaan Arora in New Delhi portrays the agony of a food seller and the emotional upheaval of a young woman separated from home.Jun 2, 2021Jun 2, 2021
Ishaan AroraReclaiming Knowledge as Public GoodElsevier, arguably the largest of five academic publishing houses which together exert a stranglehold on the entirety of their respective…Feb 18, 2021Feb 18, 2021