Human and animal communication

 Human and Animal communication

          Language is a specific characteristic of human beings. Animals do not use language. Humans use language for communication, but it does not mean that there is no communication between animals.

                      In animals communication takes place with different ways. For example, bees (मधमाशी); among bees the communication takes place with the help of bee-dancing. But this is a limited communication because they could communicate only three things – (i) the location of the source of nectar (मध), (ii) the direction of the source from the hive (हाइव्ह: मधाचे पोळे) and (iii) its distance. They cannot communicate anything except nectar. In gibbons (गिबन: माकडाची प्रजाती), communication takes place with their system of calls. The number of such calls is finite and small. They have at least nine different calls. The point is that in animals also communication takes place. However, animal communication varies from human communication. The points of differences are as follows -

1.             Duality is essentially the characteristic of human language. Duality means the arrangement of phonemes and morphemes. Such duality is not seen in animal communication.

2.            A human being may say something that   he has never said nor heard before; and this new statement is understood perfectly by his audience. That means human communication is productive. To some extent bee dancing is productive. A bee can report entirely new source of nectar. But at large animal communication is not productive.

3.            Human communication is arbitrary. There is no relationship between the word and its meaning. The meanings of words are accepted notions, and so various languages exist. Otherwise there could have been only one language in the world. On the other hand in animal communication there is no arbitrariness. There is resemblance between their utterances and the meaning.

4.            Interchangeability:   A human being can be at a time a speaker as well as hearer. He can change the roles. That is what we mean interchangeability of human language. To some extent, bee–dancing and gibbon calls involve interchangeability. But generally animal systems lack this characteristic. One cannot imagine gazelles roaring or lions fleeing (हरणे गर्जना करू शकत नाहीत; सिंह हरणासारखे चपळाईने पळू शकत नाही.).

5.            In human communication it is possible to communicate without physical involvement or gestures. Thus human communication is specialized. But animal communication is not possible without physical involvement. Gestures, physical involvement are the parts of their communication (certain animals are exceptions).

6.            Animal cannot make statements about what happened at a distant place in past or what may happen in future. That means, animal communication has no displacement. On the other hand, displacement is the characteristic of human communication.

7.            Animals acquire communication system genetically. They do not need teachers for this activity. On the other hand, human beings can not learn a language by birth. They have to acquire it by cultural transmission. (प्राण्यांना त्यांची भाषा उपजत येते; मानवाला भाषा आत्मसात करावी लागते.)

8.            Human communication is open ended i. e. new items are continually added to it. On the other hand animal communication is a closed system, new items cannot be added to it. (मानवी भाषेतून अमर्याद स्वरूपाचा संवाद घडून येऊ शकतो; प्राण्यांच्या संवादाचे स्वरूप मर्यादित असते.)

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Major English Syllabus_BA II

 

BA Part II_Semester III

English Major syllabus

1.     Major: Paper No. III

1)      Course Category: DSC (Major: Paper No. III)

2)      Course Name: Introduction to English Literature (One Act Plays) and Language (Speech Mechanism)

3)      Total Marks: 100

4)      Credits: 04

Module I	One Act Play as a minor form of literature:	a. Definition, origin and development of one act play  b. Elements of one-act play  c. Characteristics of one-act play  d. Difference between one-act play and full-length play
Module II	One-act play:	‘The Dark Lady of the Sonnets’ by G B Shaw
Module III	One-act play:	‘The Sandbox’ by Edward Albee
Module IV	Speech Mechanism:	a. Air-stream mechanism  b. Systems of organs    i. The respiratory system  ii. The phonatory system  iii. The articulatory system  c. The active and passive articulators

 

2.     Major: Paper No. IV

1)      Course Category: DSC (Major: Paper No. IV)

2)      Course Name: Indian English Poetry and Drama 

3)      Total Marks: 100

4)      Credits: 04

Module I	Introduction to Indian English Poetry and Drama	a. A short history of pre- and post-Independence Indian English Drama  b. Characteristic features of Drama  c. A short history of pre- and post-Independence Indian English Poetry  d. Major themes of Indian English Poetry
Module II	Poetry	a. ‘Where the Mind is without Fear’ by Rabindranath Tagore b. ‘Lotus’ by Tory Dutt c. ‘Bangle Sellers’ by Sarojini Naidu d. ‘Night of Scorpion’ by Nissim Ezekiel e. ‘The Image of Vithoba-I’ by Dilip Chitre f. ‘After Eight Years of Marriage’ by Mamata Kalia
Module III	Drama	A. ‘Andha Yug’ by Dharmveer Bharati
Module IV	Drama	A. ‘Andha Yug’ by Dharmveer Bharati

 

3.     VSC

1)      Course Category: VSC (Vocational Skill Course)

2)      Course Name: English for Employability

3)      Total Marks: 50

4)      Credits: 02

Module I	English for Media Writing	A. Journalistic Writing-Editorials and News B. Script Writing for Radio and Television (TV) C. Blogs
Module II	English for Marketing and Advertising	A. Crafting compelling marketing messages and campaigns B. Conducting market research and surveys C. Writing press releases and promotional content

 

4.     IKS

1)      Course Category: IKS (Indian Knowledge System)

2)      Course Name: Introduction to Indian Poetics (Course number:  01)

3)      Total Marks: 50

4)      Credits: 02

Module I	Introduction	Introduction to the Rasa theory
Module II	Selections from the Ramayana and the Mahabharat	A. Rukmini Swayamwara (The Mahabharat— Shringara) B. Shabari (The Ramayana—Karuna) C. Draupadi Vastraharan (The Mahabharat-- Bibhatsa) D. Lanka Dahan (The Ramayana—Adbhuta) E. Draupadi Swayamwara (The Mahabharat— Veera) F. Seeta Apaharan (The Ramayana—Bhayanaka) G. Krishna-Sudama (The Mahabharat—Shanta) H. Shishupal Vadha (The Mahabharat—Raudra) I. Krishna’s Childhood at Vrindavan (The Mahabharata – Hasaya)

 

5.     AEC

1. Course Category: AEC (Ability Enhancement Course: Paper No. C)

2. Course Name: English for Communication

3. Total Marks: 50

4. Credits: 02

Module I	Resume Writing and Interview Techniques	A. Writing a Resume B. Preparing for an Interview C. Facing an Interview
Module II	Official Letter Writing	A. Letter of Application B. Letters related to appointment (Acceptance/Joining Report) C. Office Communication (Leave of Absence, Transfer, Permission, Requests) D. Resignation Letter / Complaint Letter

 

Transformation and Transposition

 (e-content developed by Prof. (Dr) N A Jarandikar)

Transformation and Transposition

These are the important terms from film studies. They are related to making a film based on a literary text. They are a further exploration of the idea of ‘adaptation’. The word ‘transformation’ originates from ‘to transform’. The dictionary meaning of ‘to transform’ is ‘to change completely’. The word ‘transposition’ originates from ‘to transpose’. The dictionary meaning of ‘to transpose’ is ‘to change from one position to another. In short, ‘transformation’ requires a complete change, whereas ‘transposition’ requires a moderate change.

Transformation: 

It is a loose and creative adaptation. A filmmaker makes major changes in the original literary work. These major changes can be at multiple levels, such as changes in plot, changes in characters, changes in ending, etc. The technical term used for such changes is ‘cinematic liberty’. Many a time, s/he takes literary text as a starting point, and then goes on adding and editing the ideas as per the requirements. Usually, a filmmaker mentions the original literary text in the credits given either at the beginning or the end of the cinema. A filmmaker considers it as his moral responsibility. The main purpose of transformation is to interpret the original text for a new context.

The film ‘Angoor’ is a classic example of transformation. The film is based on a classic play, ‘Comedy of Errors’ by William Shakespeare. The filmmaker has kept the major plotline intact. But the motif of the characters, their names, and the setting are changed. There is an addition of songs too. The film ‘3 Idiots’ is also another example of transformation. The film is based on Chetan Bhagat’s novel ‘Five Point Someone’. But the filmmaker has used the novel just as a starting point. To make it dramatic and entertaining, the filmmaker has made significant changes in the original novel. The film ‘Dev D’ is the transformation of the novel ‘Devdas’, but the original literary text is not mentioned in the film’s credits. 

Transposition: 

It is a very close and faithful adaptation. A filmmaker makes moderate changes in the original literary work. Usually, the names of characters and, setting are kept intact. A slight modification and editing are done in the the case of plot. Too much liberty is avoided by the filmmaker. Due credit is given to the original literary text.  The main purpose of transposition is to maintain and preserve the original literary text as it is.

The film ‘Train to Pakistan’ is a good example of transposition. The film is based on the novel by Khushwant Singh with the same title. Right from the title, everything has been faithfully retained in the film by the filmmaker. The Marathi film ‘Natrang’ is another example of transposition. The film is based on the novel with the same title by Anand Yadav.

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Seven Stages

 (e-content developed by Prof. (Dr) N A Jarandikar)

The poem ‘The Seven Stages’ is written by Meena Kandasamy. Meena Kandasamy is the Indian poet.Caste issues and gender inequality are the main themes of her poetry.

The poem ‘The Seven Stages’ deals with a sad love story. This story may happen in any part of India. The lovers are cursed by the caste issues. The society does not accept their marriage, and they are killed brutally. In one sense, the poem brings forward the issue of ‘honour killing’ in India.

The poem begins with a warning to the beloved, her lover and the readers. 

1. The poet warns the beloved not to lose her love and the lover.

2. The poet asks the lover not to ignore her advice about the precious love, not to lose his love.

3. The poet asks the readers to consider the tragic incident as a dream. She asks them to defy this dream.

At the beginning of the poem, the poet refers to the seven stages of love as cherished by Sufi tradition. These seven stages of love are as follows:

1. Hub (Attraction)

2. In (Infatuation)

3. Ishq (Love)

4. Aquidat (Trust)

5. Ibadat (Worship)

6. Junoon (Madness)

7. Maut (Death)

According to the poet a love story begins with attraction, infatuation and love. Here a silent man falls in love with a talkative girl.

After the third stage, the society enters the story along with ‘caste code’. That means the lovers belong to the different castes and society is against it. The lovers are separated by society for two years. But this separation of lovers goes through the stages of trust, worship and then madness.

Out of this junoon or madness, the lovers become rebels. They throw away the barriers of society. They elope and get married.

However, they are constantly under threat from society. So they prefer to live underground like rabbits. But society doesn’t spare them. The society discovers them and they are slaughtered. This is how comes the final stage of their love: death. The lovers tried to defy the social conventions, but they were defeated and died.

But the poet appeals to take this sad story as a dream, and try to ‘turn it on its head’. The honour killing is a reality in our society. But the poet appeals to change the mentality.

The seven stages of love are described in Sufi tradition. Here the love is between the devotee and God. Death refers to a state of self-dissolution where a devotee becomes one with God. 

But in real life, the real love story follows the path of death literally and ends tragically.

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कविता ‘द सेवन स्टेजेस’ ही मीन कंदसामी यांनी लिहिलेली आहे. मीन कंदसामी या भारतीय कवयित्री आहेत. जातिव्यवस्था आणि लैंगिक विषमता हे त्यांच्या कवितांचे मुख्य विषय आहेत.

‘द सेवन स्टेजेस’ ही कविता एका दु:खद प्रेमकथेवर आधारित आहे. अशी कथा भारतात कुठेही घडू शकते. या कवितेतील  प्रेमी युगलाला जातीच्या बंधनाचा शाप लागतो. समाज त्यांच्या विवाहाला मान्यता देत नाही आणि त्यांना क्रूरपणे ठार मारले जाते. एका अर्थाने, ही कविता भारतातील ‘ऑनर किलिंग’चा मुद्दा समोर आणते.

कवितेची सुरुवात एक इशारा देऊन होते — प्रेयसीला, प्रियकराला आणि वाचकांना.

1. कवयित्री प्रेयसीला तिचं प्रेम आणि प्रियकर गमावू नकोस, असा इशारा देते.

2. कवयित्री प्रियकराला सांगते की, हे अमूल्य प्रेम गमावू नकोस; माझं म्हणणं दुर्लक्षित करू 

                        नकोस.

3. कवयित्री वाचकांना सांगते की, ही शोकांतिका एक स्वप्न समजावी आणि त्या स्वप्नाला विरोध 

                        करावा.

कवितेच्या सुरुवातीला कवयित्री सूफी परंपरेतील प्रेमाच्या सात टप्प्यांचा उल्लेख करते. हे टप्पे असे आहेत:

1. हब (आकर्षण)

2. इन (आवड)

3. इश्क (प्रेम)

4. अकीदत (विश्वास)

5. इबादत (पूजा)

6. जुनून (वेडेपणा)

7. मौत (मृत्यू)

कवयित्रीच्या मते, प्रत्येक प्रेमकथेची सुरुवात आकर्षण, आवड आणि प्रेम अशा पहिल्या तीन टप्प्यांनी होते. इथे एक अबोल माणूस एका बोलक्या मुलीवर प्रेम करतो.

पण तिसऱ्या टप्प्यानंतर समाज त्यांच्यात हस्तक्षेप करतो आणि जातीभेदाची भिंत उभी राहते. दोघे वेगवेगळ्या जातीतले असल्यामुळे समाज त्यांच्या विरुद्ध उभा राहतो. समाज त्यांना दोन वर्षांसाठी वेगळं करतो. पण या विरहातून त्यांच्या प्रेमाचा विश्वास, पूजा आणि शेवटी वेडेपणा अशा पुढील तीन टप्प्यांतून प्रवास होतो.

वेडेपणाच्या या टप्प्यावर ते बंडखोर बनतात. ते समाजाचे बंधन झुगारून देतात. ते पळून जाऊन लग्न करतात.

पण समाजाकडून त्यांना नेहमीच धोका असतो. म्हणून ते सशासारखे लपून राहतात. पण समाज त्यांना सोडत नाही. समाज त्यांना शोधून काढतो आणि ठार मारतो.

अशी ही प्रेमकथा शेवटी मृत्यू या अंतिम टप्प्याला पोहोचते. त्यांनी सामाजिक बंधनांचा विरोध केला, पण त्यांना हरवण्यात आलं आणि त्यांचा अंत झाला.

कवयित्री हे दु:खद सत्य एक स्वप्न मानायला सांगते आणि ते उलटवून टाकायला सांगते. ऑनर किलिंग ही आपल्या समाजातली एक कटू वास्तविकता आहे. पण कवयित्री मानसिकता बदलण्याचे आवाहन करते.

मूळ सूफी परंपरेतील सात टप्पे हे देव आणि भक्त यांच्यातील प्रेमाचे प्रतीक आहेत. मृत्यू म्हणजे भक्त देवामध्ये विलीन होतो, अशी अवस्था.

पण खरी प्रेमकथा प्रत्यक्ष मृत्यूकडे वाटचाल करते आणि दु:खदरीत्या संपते.

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