Radhika Mehta

Detailed Analysis of the Video Lectures and Hindi Podcast on W. B. Yeats’s Poems Poems Covered The Second Coming On Being Asked for a War Poem I. Detailed Analysis of Online Class Video on The Second Coming 1. The Second Coming Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of  Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty cent...

Expanded Critical Analysis Baz Luhrmann’s The Great Gatsby (2013) as Adaptation Part I: Frame Narrative, Authorship, a nd Mental Health The  Golden period start with green light ✨️  https://youtu.be/9H8a8cVxhBg?si=x-jllKU_rbdT2NSb 1. The Sanitarium Device: Narrational Authority and Modernist Anxiety Luhrmann’s sanitarium frame fundamentally reconfigures narrative reliability. In Fitzgerald’s novel, Nick Carraway is a controlled modernist narrator: reflective but not hysterical, morally observant yet restrained. His authority derives from his self-positioning as someone who “reserves all judgments,” even though this claim is repeatedly destabilized. By relocating Nick to a sanitarium, the film medicalizes modernist alienation. What is existential unease in the novel becomes diagnosable trauma in the film. This shift reflects a broader 21st -century tendency to explain moral or philosophical crisis through psychology rather than ethics. As a result: Nick’s narration becomes ther...

  Conditional Citizenship and the Denial of Dignity in Neeraj Ghaywan’s Homebound Introduction This blog has been assigned by Prof. Dr. Dilip Barad Neeraj Ghaywan’s Homebound (2025) has largely been discussed as a pandemic film depicting migrant suffering during the COVID-19 lockdown. While such readings are not incorrect, they remain insufficient. The pandemic in Homebound does not function as the central subject of the narrative but as a mechanism that exposes deeper structural inequalities already embedded within Indian society. The film’s primary concern is not migration itself, but the fragile and conditional nature of citizenship as experienced by marginalized communities. This blog argues that Homebound presents dignity not as an inherent right guaranteed by citizenship, but as a conditional privilege mediated by caste, religion, and institutional access. Through the trajectories of its two protagonists, Chandan and Shoaib, the film critiques the idea that modern India oper...

T. S. Eliot’s Tradition and the Individual Talent : Tradition, Impersonality, and the Re-definition of Poetry Here is a mindmap T. S. Eliot’s critical essay “Tradition and the Individual Talent” (1919) stands as one of the most decisive interventions in twentieth-century literary criticism. Written during a period of profound cultural disillusionment following the First World War, the essay reflects the Modernist rejection of Romantic idealism, emotional excess, and the cult of individual genius. Eliot challenges the nineteenth-century belief that poetry is primarily the spontaneous expression of personal emotion and proposes instead a vision of poetry grounded in discipline, impersonality, and historical consciousness . Eliot’s argument emerges from a complex intellectual background that includes classical aesthetics , French Symbolism , and Anglo-Catholic philosophy , as well as the critical legacy of Matthew Arnold . His central concern is to redefine the poet’s relationship to the...

Robert Jordan as a Typical Hemingway Hero (With reference to Ernest Hemingway’s For Whom the Bell Tolls ) Ernest Hemingway created a distinctive kind of protagonist often referred to by critics as the “Hemingway Hero” or “Code Hero.” Robert Jordan, the central character of For Whom the Bell Tolls (1940), exemplifies this heroic type through his personal code of conduct, emotional restraint, courage in the face of death, and commitment to action rather than abstract ideology. Jordan’s character reflects Hemingway’s vision of how an individual should live with dignity in a chaotic and violent world. 1. The Concept of the Hemingway Hero A typical Hemingway hero is: A man of action rather than words Emotionally restrained, avoiding sentimental expression Guided by a personal moral code Courageous in the face of death Often isolated but capable of deep loyalty and love Aware of the inevitability of defeat yet determined to act honorably Robert Jordan fits this pattern precisely. As an A...