Reflection on Academic Writing - Learning Outcome

 The Department of English, MKBU, organized a Five days long National Workshop from 27th January to 31st January- 2026 on Academic Writing. The workshop was conceptualized to address the critical intersection of natural intelligence and artificial intelligence in the realm of research and pedagogy. The event aimed to equip students, scholars, and faculty members with the skills to preserve innate writing abilities while ethically leveraging AI tools. So, this blog is part of our learning outcome reflection.  Assigned by our Head of the Department Prof. Dilip Barad.

Dr. Nigam Dave

Dr. Dave focused on the human-cyber-physical interface (HCPS) and the concept of AI hallucination. He shared that AI is built on probabilistic models and is not trained to say it does not know an answer, often leading it to fabricate data that looks statistically correct. He learned through his own errors that while AI resources are ready-to-use, they contain "traps" like fabricated citations from non-existent journals. He taught that AI should be used ethically as a tool for peripheral academic tasks, such as changing citation formats or micro-reading for punctuation errors, but warned that humans must remain "in the loop" to maintain relevance.

Link of Session:https://youtu.be/RJPlO9i96AM?list=TLGGj5ibmz-X1jAxOTAyMjAyNg

Dr. Kalyan Chattopadhyay

Dr. Chattopadhyay detailed the five principles of academic writing: formality, objectivity, clarity, precision, and the use of evidence. He taught the PIE structure (Point, Information/Evidence, Explanation/Interpretation) for logical paragraph construction. His sessions addressed the "uncomfortableness" Asian writers feel regarding authorial identity, advocating for the international standard of using the authorial "I" in abstracts and theses. He also taught the use of hedging strategies (using words like "appears" or "suggests") to express caution when findings are not absolute.

Link of Session:

https://youtu.be/NJ6cCYj709Q?list=TLGG4VQ2m76Pr1cxOTAyMjAyNg

https://youtu.be/cuOouQx_adM?list=TLGG3lD5wegRpJ8xOTAyMjAyNg

Professor Paresh Joshi

Professor Joshi distinguished between the "literature of knowledge" (academic writing) and the "literature of power" (imaginative writing like poetry), teaching that academic writing must be detached, objective, and scientific. He introduced prompt engineering, showing how to draft specific, context-rich inputs for AI to get desired outcomes. He highlighted strategies like chain of thought prompting and role-based prompting. He cautioned that AI lacks "vivek buddhi" (discerning wisdom) and that every AI-generated response must be fact-checked because the quality of output is entirely dependent on the quality of the input.

Link of Session: https://youtu.be/C7VXzNSys38?list=TLGGNIx5VS_zb_QxOTAyMjAyNg

Dr. Clement Ndoricimpa

Dr. Ndoricimpa’s primary focus was on the mechanics of publishing in Scopus and Web of Science indexed journals to increase research visibility and career advancement. He taught the IMRaD structure (Introduction, Methods, Results, and Discussion) and specifically the "three moves" of a high-quality introduction: establishing a territory, identifying a niche (gap), and occupying that niche. A key lesson he imparted was the critical necessity of recent references; he noted that many student submissions lacked proper citations or used outdated ones, which often leads to journal rejection. He also demonstrated how to use Mendeley for accurate referencing.

Link of Session:

https://youtu.be/j7ii6l_MBZs?list=TLGGDuTY_cFwnHsxOTAyMjAyNg

https://youtu.be/H4IHwdT2kdk?list=TLGGx7Xcrq1R7bYxOTAyMjAyNg

Dr. Kalyani Vallath

Dr. Vallath presented academic writing as a practicable skill rather than an innate talent. She discussed the Zone of Proximal Development, where learning occurs in the intersection of what one can do alone and what one can do with help. Her sessions taught strategies like reverse planning—starting from the desired end structure of a thesis and filling in details—and free writing to discover concepts before formalizing them with theory. She also provided deep insights into UGC NET preparation, teaching that the exam has shifted from memory-based to analytical and inference-based questions, requiring "presence of mind" and strategy rather than just scholarly mugging up.

Link of Session:

https://youtu.be/E79dIfx0IgI?list=TLGGL0ZPIHIG4gYxOTAyMjAyNg

https://youtu.be/WCVs8nN3qBQ?list=TLGGl-bM1p8SwasxOTAyMjAyNg

https://youtu.be/PNAAMzD3OwQ?list=TLGGrBpWFdOU6VoxOTAyMjAyNg

https://youtu.be/3HUyFI4Eh7Y?list=TLGGhOKy1n4C8JExOTAyMjAyNg

Through the various sessions of the National Workshop on Academic Writing, students and research scholars acquired a broad range of theoretical, practical, and technical skills essential for high-standard scholarly work.

Understanding the Human-AI Collaboration

• AI Hallucination and Ethics: Students learned that AI operates on probabilistic models and is not trained to admit ignorance, leading to confident but fabricated data or "hallucinations". They were taught to be vigilant against "red herrings" such as fabricated citations from non-existent journals.

• Human in the Loop (HCPS): The concept of the Human-Cyber-Physical Interface (HCPS) was introduced, emphasizing that humans must remain "in the loop" to maintain academic credibility and relevance.

• Prompt Engineering: Professor Paresh Joshi taught that the quality of AI output is entirely dependent on the input. Students learned specific strategies like zero-shot, one-shot, and few-shot prompting, as well as chain-of-thought prompting to force the AI to show its reasoning steps.

• Peripheral Academic Use: Participants learned to use AI ethically for "redundant" or peripheral tasks, such as changing citation formats (e.g., MLA to APA), micro-reading for punctuation errors, and checking the novelty of research ideas.

Mastering Academic Writing Mechanics

• The Five Principles: Students were grounded in the core features of academic writing: formality, objectivity, clarity, precision, and evidence. They learned to replace colloquial language and contractions (like "don't" or "nasty") with formal alternatives ("do not" or "unappetising").

• Structural Frameworks: The IMRaD structure (Introduction, Methods, Results, and Discussion) was detailed as the global standard for research papers. Specifically, they learned the "three moves" of a high-quality introduction: establishing a research territory, identifying a niche/gap, and occupying that niche.

• Authorial Identity: A significant lesson was the shift toward the international standard of using the authorial "I" in abstracts and theses to show visibility and commitment to ideas, moving away from the more traditional and impersonal Indian academic style.

• Logical Argumentation: Dr. Chattopadhyay introduced the PIE structure (Point, Information/Evidence, Explanation/Interpretation) for constructing logical paragraphs. Students also learned to use hedging (words like "appears" or "suggests") to express caution when findings are not absolute.

Research Strategy and Publication Standards

• High-Impact Publishing: Dr. Ndoricimpa emphasized the importance of publishing in Scopus and Web of Science indexed journals to ensure research visibility, professional recognition, and career advancement.

• Citation Management: Students learned the critical importance of using recent references (ideally within the last 5–10 years) to avoid rejection by top-tier journals. Practical training was provided on using Mendeley for accurate referencing.

• The Research Gap: Scholars learned that a literature review should not just be a summary but a synthesised argument that identifies what is unknown (the research gap) to justify their own contribution to knowledge.

Career and Exam Preparation (UGC NET)

• Strategic NET Preparation: Dr. Kalyani Vallath taught that the UGC NET has shifted from memory-based to analytical and inference-based questions. Students learned to be "calm and clever" in the exam hall, using presence of mind to find clues within questions rather than relying solely on scholarly "mugging up".

• Professional Skills: Beyond writing, students were encouraged to develop a "growth mindset," build a rich portfolio of evidence, and seek internships and mentorships to survive in a competitive, skill-based world.

• Effective Goal Setting: The SMART goal framework (Specific, Measurable, Attainable, Relevant, Time-bound) was introduced to help students manage their research timelines effectively.

Individual Research Learning

• Specific scholars applied these lessons to their own work: We learned to navigate digital cartography software like Google Maps and QGIS; also gained clarity on maintaining a formal tone; and others learned to apply complex theories like surveillance capitalism and post-humanism to analyze modern texts and films.

From Here you can Access Whole Web Page about Workshop.

Thinking Activity : Revolution 2020 by Chetan Bhagat

 This blog is part of thinking activity by Prof. Dilip Barad. This activity focuses on the thematic study of Chetan Bhagat’s 'Revolution 2020', a novel that explores the intertwined lives of three protagonists—Gopal, Raghav, and Aarti—against the backdrop of contemporary Indian society. Through its central themes of love, corruption, ambition, and revolution, the novel delves into moral dilemmas, societal challenges, and the personal sacrifices required for success and social change. The story contrasts the characters’ differing aspirations, with Gopal’s pursuit of wealth and power through corrupt means juxtaposed against Raghav’s idealistic struggle to reform society. By analyzing these themes, students will critically engage with the novel’s portrayal of ethical conflicts, systemic corruption, and the commodification of ideals like revolution. This activity includes textual analysis, discussion prompts, creative tasks, and critical thinking exercises to deepen understanding and foster connections between the novel’s themes and real-world issues.  

1. The Theme of Love

Discussion Prompts: 

How does the relationship between Gopal, Raghav, and Aarti evolve over time? 

• Childhood: Innocent friendship.
• Teenage Years: Romantic tension develops. Gopal openly expresses love; Aarti hesitates.
• College Phase: Aarti and Raghav grow closer; Gopal feels betrayed.
• Adulthood: Gopal gains power and wealth; Raghav struggles but stays idealistic. Aarti reconnects with Gopal due to emotional neglect from Raghav.
• Climax: Gopal sacrifices his love, ensuring Aarti’s marriage to Raghav.

Is Gopal's decision to sacrifice his love for Aarti’s happiness noble or a result of his guilt? 

It is a mixture of both:

• Guilt: He feels ashamed of his corruption and affair with Aarti.
• Self-awareness: He realizes that wealth has not brought him peace.
• Love: True love, in his final act, becomes selfless—he prioritizes Aarti’s long-term happiness.

Thus, his sacrifice represents character growth. The boy who once equated love with possession learns that love sometimes means letting go.

How does Aarti’s shifting affection reflect societal pressures or personal confusion?

Aarti’s decisions reflect:

• The desire for emotional attention (which Raghav fails to give).
• Attraction toward security and comfort (which Gopal provides).
• Confusion between idealism and stability.
• Social pressure to choose a “successful” partner.

She is not merely fickle; she represents a modern individual caught between heart, ambition, and social expectations.

Critical Questions:

Can love truly flourish in a society riddled with corruption and ambition?

The novel suggests that love struggles—but does not completely die—in a corrupt society.

• Corruption influences career choices.
• Ambition distorts priorities.
• Power creates moral compromise.

Yet, the final act of sacrifice shows that individual morality can still survive within corruption. True love, in the novel, is not about possession or desire—it is about sacrifice and growth.

How does the novel portray the idea of "true love"?

True love in the novel is shown through:

• Letting go rather than holding on.
• Choosing another’s happiness over personal desire.
• Moral awakening through emotional pain.

In the end, the story suggests that ambition may corrupt, revolution may fail, but love—when selfless—redeems.

2. The Theme of Corruption

Discussion Prompts

Compare Gopal's and Raghav’s approaches to achieving success.

Gopal believes success means wealth, status, and power, even if achieved through unethical means. He adjusts himself to the system. Raghav, however, defines success as social impact and integrity. He resists the system rather than becoming part of it. Their contrasting paths highlight material success versus moral success.

How does the novel portray the systemic nature of corruption in education and politics?

Corruption is shown as organized and widespread. Engineering colleges are built using black money, bribes are required for approvals, politicians exploit students and parents, and media houses are influenced by political power. The education system becomes a business rather than a service, and politics protects corruption instead of eliminating it.

What does Gopal’s eventual disillusionment with corruption suggest about his character?

His growing dissatisfaction reveals that he is not completely immoral. Despite material success, he feels emptiness and guilt. His final sacrifice shows that he still possesses conscience and emotional depth. The disillusionment marks his moral awakening.

Critical Questions:

How does the portrayal of corruption in Revolution 2020 reflect real-world issues?

The novel reflects real-world problems such as the commercialization of education, political misuse of power, bribery in government processes, and the pressure on middle-class families to secure professional degrees at any cost. Coaching institutes exploit students’ dreams, politicians manipulate systems for profit, and honest individuals struggle to survive within these structures. The story mirrors how corruption often appears normalized, making ethical resistance difficult.

Can individuals like Raghav succeed in fighting systemic corruption? Why or why not?

Individuals like Raghav face immense obstacles because corruption is deeply rooted and supported by powerful networks. Financial pressure, political intimidation, and social indifference weaken reformers. However, the novel suggests that change begins with individuals who refuse to compromise. While immediate success may be limited, persistent resistance can inspire awareness and gradual transformation. Raghav’s journey shows that fighting corruption may not bring quick victory, but it keeps the hope of reform alive.

3. The Theme of Ambition

Discussion Prompts:

What motivates Gopal and Raghav’s ambitions?

Gopal is motivated by personal failure, financial struggle, and the desire to prove himself. His ambition grows out of wounded pride and social pressure. Raghav is motivated by moral outrage and a vision for societal change. His ambition is inspired by justice rather than ego.

How do their ambitions shape their relationships and decisions?

Gopal’s ambition distances him emotionally and morally from others. His choices lead him into corruption and eventually strain his relationship with Aarti. Raghav’s ambition also affects his love life, as his dedication to activism causes him to neglect Aarti. In both cases, ambition complicates personal relationships and creates emotional conflict.

Is ambition inherently positive or negative, as depicted in the novel?

The novel suggests that ambition itself is neutral. It becomes positive when guided by ethics and social responsibility, as seen in Raghav. It becomes destructive when driven by greed and insecurity, as seen in Gopal’s journey.

Critical Questions:

Does Gopal’s ambition make him a tragic hero? Why or why not?

Gopal can be considered a tragic hero because his downfall is not caused by fate but by his own flaws—mainly insecurity, jealousy, and moral compromise. Like a tragic hero, he possesses strengths such as intelligence, determination, and deep emotional capacity. However, his unchecked ambition leads him into corruption and emotional suffering. His realization and sacrifice at the end bring moral redemption, which strengthens the tragic dimension of his character. He achieves material success but loses personal happiness, making his story deeply tragic.

How does the theme of ambition intersect with love and corruption in the novel?

Ambition, love, and corruption are tightly interconnected in the novel. Gopal’s ambition for wealth pushes him toward corruption, which eventually complicates his love for Aarti. His desire to prove himself financially is partly driven by his wish to win her affection. Similarly, Raghav’s ambition for revolution affects his romantic relationship, as his dedication to fighting corruption causes emotional neglect.

Thus, ambition influences both moral choices and emotional bonds. The novel shows that when ambition is not balanced with integrity and emotional responsibility, it can damage both society and personal relationships.

4. The Theme of Revolution

Discussion Prompts:

How does Raghav’s vision for a revolution differ from Gopal’s practical approach to success?

Raghav seeks long-term societal transformation through truth and activism. He believes change begins with awareness and moral courage. Gopal, in contrast, focuses on immediate personal advancement. He works within the corrupt system rather than trying to reform it. Raghav challenges the structure; Gopal benefits from it.

Does the novel succeed in portraying a genuine revolutionary spirit, or does it dilute the theme?

The novel portrays a sincere revolutionary spirit through Raghav’s dedication and sacrifices. However, the focus on romance and personal conflict sometimes weakens the political intensity. As a result, the revolutionary message feels present but not fully developed.

How is the title Revolution 2020 reflective of the story’s central message?

The title Revolution 2020 reflects the story's message through three key layers:

• Systemic Change vs. Personal Sacrifice: The "Revolution" refers to Raghav’s mission to dismantle India's corrupt system using youth power by 2020. However, the central message highlights that this societal change is only possible through individual sacrifice; Gopal is considered the "real hero" because he sacrifices his love for Aarti to enable Raghav’s path.

• Moral Purification: The title suggests a deadline for a "cleansing" of the soul and society. It reflects the idea that true success is found in virtue and goodness rather than money, a realization Gopal reaches after his entanglement with corruption.

• Commodification of Ideals: Critically, the title mirrors the "popular literature" aesthetic by framing revolution as a commercial brand (similar to IPL-Twenty20) to engage young readers, even though the plot often prioritizes "Love" over the actual "Revolution".

Critical Question

Why does Raghav believe a revolution must begin in small cities like Varanasi?

Raghav believes that true revolution must begin in small cities because they represent the heart of India—where traditional values, corruption, and rising modern aspirations collide. Large metropolitan cities often dominate political and media narratives, but smaller cities experience the same systemic problems without equal attention. By starting change in a place like Varanasi, Raghav hopes to inspire grassroots transformation. He understands that lasting reform begins at the local level, within families and communities, before spreading nationally.

Is Bhagat’s portrayal of revolution realistic or overly romanticized?

Bhagat’s portrayal of revolution is partly realistic and partly idealistic. It is realistic in showing the obstacles faced by reformers—political threats, financial instability, public apathy, and systemic resistance. Raghav’s struggles demonstrate how difficult genuine change can be. However, the idea of a single individual leading a sweeping transformation can appear somewhat romanticized. The novel balances hope with harsh reality, suggesting that while revolution is possible, it is slow, painful, and often overshadowed by personal and societal limitations.

References:

Barad, Dilip. “Revolution2020.”https://blog.dilipbarad.com/2021/12/revolution2020.html. Accessed 19 Feb. 2026. 

Barad, Dilip. Thematic Study of Chetan Bhagat’s “Revolution 2020,” www.researchgate.net/publication/388198619_Thematic_Study_of_Chetan_Bhagat’s_’Revolution_2020’. Accessed 19 Feb. 2026. 

Bhagat, Chetan. Revolution 2020 , https://www.boscogroupofschools.in/starstudentbuilder/educational-theory/E-Books/Novels/19-Revolution%202020%20-%20Chetan%20Bhagat_indianauthornovels.blogspot.in.pdf. Accessed 19 Feb. 2026. 

Lab Activity: Revolution 2020 by Chetan Bhagat

 This blog is based on a postgraduate worksheet assigned by Prof. Dr. Dilip Barad for the course Popular Literature / Indian Writing in English. It documents a series of activities on Revolution Twenty20 that use Gen AI as a learning tool, not a shortcut. The focus is on moving from basic understanding to critical evaluation through character maps, cover analysis, infographics, and thematic slides. Throughout the blog, AI outputs are questioned, revised, and rewritten to retain human judgement and critical voice. The aim is to study popular literature while learning how to use AI responsibly and critically. (Worksheet)

Activity 1: Character Mapping

Activity 2: Cover Page Critique (Understand → Apply → Analyse)

The book cover for Revolution 2020 by Chetan Bhagat uses specific design elements to create clear expectations for the reader regarding its themes, target audience, and commercial appeal.

Expectations of Revolution

The cover creates a sense of "revolution" that is likely social or personal rather than purely militant. While the title is bold and prominent, the tagline "LOVE.CORRUPTION.AMBITION" frames the revolution within the context of systemic societal issues (corruption) and individual desires. The background imagery, featuring what appears to be traditional Indian architecture and a boat on a river (suggestive of a city like Varanasi), implies a clash or a turning point occurring within a traditional setting.

Expectations of Youth

The silhouettes at the bottom of the cover clearly signal a focus on youth and contemporary relationships. The depiction of three figures—two holding hands and one standing slightly apart—strongly suggests a love triangle, a common trope in youth-oriented popular fiction. The casual attire of the silhouettes further reinforces that the story centers on the lives and struggles of young adults.

Marketability

The cover is designed for high commercial visibility:

• Author Branding: The name CHETAN BHAGAT is placed at the very top in a large, clean font, leveraging his status as a "brand" in Indian popular literature.

• High Contrast: The use of a stark black and vibrant magenta/pink colour palette ensures the book stands out on a shelf or in a digital thumbnail.

• Mass Appeal Themes: The tagline explicitly lists three high-interest themes—love, corruption, and ambition—which are designed to hook a wide demographic of readers.

Typography, Colour, and Symbolism

The design aligns closely with popular literature aesthetics:

• Typography: The use of a bold, modern, sans-serif typeface for the title and author name is a hallmark of contemporary commercial fiction, suggesting accessibility and a fast-paced narrative.

• Color: The magenta/pink wash against the black background evokes a mix of passion and drama. Pink often signals romance, while the heavy use of black adds a layer of seriousness or "darker" themes like corruption.

• Symbolism: The silhouettes are a classic popular fiction technique; they allow readers to project themselves or their own mental images onto the characters, making the story feel more relatable. The watercolor-style cityscape at the top adds a "literary-lite" feel, grounding the mass-market appeal in a specific cultural atmosphere.

Critical Move 

1. Oversimplification of Varanasi in the Background:

The Specificity of Varanasi

The background imagery—featuring the distinct silhouettes of temples (ghats) and a river—is an unmistakable visual reference to Varanasi. This choice of setting is vital for the "Revolution" theme because it places the modern conflict of "CORRUPTION" and "AMBITION" against the backdrop of one of the world's oldest and most traditional cities. The line-drawn architecture suggests a place rooted in history, which creates a sharp contrast with the bold, modern typography of the title.

The Boat and Personal Nostalgia

While the boat on the river sets the scene, it also serves as a poignant symbol of the personal narrative. You noted that the boat represents the nostalgia of Gopal and Aarti, and while their specific names and memories are part of the novel’s text (and thus external to this specific source image), the visual inclusion of two figures in a boat on the water reinforces the "LOVE" aspect of the tagline. It suggests a quiet, intimate past that is being overshadowed by the larger, "messier" magenta wash of the revolution and corruption occurring in the city above them.

Layered Meaning: Corruption vs. Tradition

When we combine your observation with the previously mentioned financial symbols (the faint numbers like "50.50" behind the title), the cover's full strategy becomes clear:

• The Traditional/Personal Layer: The boat and Varanasi temples represent the characters' roots and their emotional history.

• The Systemic/Corrupt Layer: The currency-like symbols and the harsh magenta "blood/ink" wash represent the financial greed and corruption that threaten those personal roots.

By failing to explicitly name Varanasi and the nostalgic weight of the boat, the previous analysis missed how the cover grounds its high-stakes themes (Corruption, Revolution) in a very specific, recognizable, and deeply personal environment.

2. Misinterpretation of Silhouette Dynamics: The AI previously described the silhouettes as "two holding hands and one standing slightly apart," framing it as a standard love triangle. A more detailed look at the image reveals a more complex and tense physical dynamic: the central female figure is holding hands with the man on the left while simultaneously being leaned into or embraced by the man on the right. The AI's initial description oversimplified this as one person being "apart," whereas the visual actually depicts a physical "tug-of-war" or dual intimacy. This suggests a narrative of being torn between two paths or people, which aligns more closely with the "AMBITION" and "LOVE" conflict mentioned in the tagline than a simple "standing apart" trope

Activity 3: Infographic from Video Discourse (Analyze → Evaluate)

Activity 4: AI-Generated Slide Deck on Themes (Evaluate → Create)

 

Homebound : Dignity, Aspiration, and the Quiet Violence of Belonging

 This blog is part of Sunday reading assigned by Dilip Barad in response to analyse core elements of  movie. Here is Worksheet to explore details.

Introduction

The screening of Homebound as part of the Department of English’s film study initiative offered more than a cinematic experience—it demanded ethical, social, and political engagement. Directed by Neeraj Ghaywan, Homebound is a restrained yet devastating exploration of aspiration, dignity, and systemic abandonment in contemporary India. Rather than dramatizing suffering through spectacle, the film insists on stillness, silence, and bodily exhaustion, forcing viewers to confront how marginalised citizens are made to earn what should be a basic right: dignity.

From Reportage to Aspiration: Rewriting the Source Text

Homebound is adapted from Basharat Peer’s 2020 New York Times essay A Friendship, a Pandemic and a Death Beside the Highway, which documents the real-life ordeal of migrant textile workers Amrit Kumar and Mohammad Saiyub during the COVID-19 lockdown.

The film fictionalizes them as Chandan and Shoaib, significantly altering their pre-lockdown identity from migrant workers to aspiring police constables. This narrative shift is crucial. While the original essay foregrounds economic precarity and state abandonment, the film reframes the story around institutional dignity. Chandan and Shoaib do not merely want employment; they want recognition, legitimacy, and protection under the authority of the state.

Ironically, this aspiration deepens the tragedy. Even those who seek to serve the system are discarded by it. The adaptation thus moves from documentation to indictment—exposing not only vulnerability, but the cruelty of deferred hope.

Production Context and Global Realism

The film’s realist aesthetic is shaped significantly by Martin Scorsese, who served as Executive Producer and mentor during script and edit development. His influence is visible in the film’s observational pacing, ethical restraint, and resistance to melodrama.

This global realist approach earned Homebound acclaim at international festivals such as Cannes Film Festival and Toronto International Film Festival, where subtle social realism is valued. However, the same restraint alienated domestic audiences accustomed to emotional excess and star-driven narratives. The film’s reception thus reveals a divide between global prestige cinema and Indian commercial expectations.

The Politics of the Uniform

In the first half of the film, the police uniform functions as a powerful symbol of social mobility. For Chandan and Shoaib—marked by caste and religion—the uniform promises invisibility of stigma, authority without explanation, and dignity without apology.

This fragile faith in meritocracy collapses under a brutal statistic: 2.5 million applicants competing for just 3,500 posts. The numerical imbalance exposes the illusion of fairness. Effort becomes irrelevant in a system structured to exclude. The uniform, once a symbol of hope, becomes an unreachable fantasy—revealing how institutions manufacture aspiration while denying access.

Intersectionality: Caste and Religion as Quiet Violence

Rather than overt brutality, Homebound exposes discrimination through micro-aggressions.

Caste:

Chandan applies under the General category instead of Reserved, despite being Dalit. This choice reflects internalised caste shame. Reservation, though meant as corrective justice, is socially stigmatized, compelling him to erase his identity to access dignity. The film shows how oppression operates psychologically, not just structurally.

Religion:

In a haunting office scene, a colleague refuses to drink water touched by Shoaib. There is no confrontation, no raised voice—only silence. This moment exemplifies quiet cruelty: a normalized exclusion that wounds without spectacle. The absence of drama makes the humiliation more devastating.

The Pandemic as Exposure, Not Disruption

The COVID-19 lockdown marks a tonal shift, transforming the film from a social drama of ambition into a survival narrative. Some critics view this as abrupt, but the film suggests otherwise. The pandemic does not create a crisis—it reveals one.

The lockdown magnifies pre-existing “slow violence.” Lack of transport, food, and institutional support exposes the state’s indifference. Their physical journey home mirrors the collapse of institutional trust. Citizenship dissolves into survival, and equality exists only in shared abandonment.

Embodied Performances and Conditional Citizenship

Vishal Jethwa’s performance as Chandan is deeply somatic. His lowered gaze, hunched shoulders, and hesitant speech visually register internalized caste trauma. When asked his full name, his body retreats—enacting centuries of imposed shame without explicit dialogue.

Ishaan Khatter’s Shoaib embodies restrained anger. His rejection of a Dubai job in favor of a government post in India reflects a desire for belonging at home. Yet the film repeatedly shows how minorities must prove loyalty to earn acceptance. Home becomes a space of emotional risk, not safety.

Janhvi Kapoor’s Sudha Bharti, though often critiqued as underdeveloped, represents educational privilege. Her relative empowerment highlights how class and education mediate dignity more effectively than aspiration alone—serving as a counterpoint rather than a parallel arc.

Cinematic Language: Exhaustion as Aesthetic

Cinematographer Pratik Shah employs a muted palette of greys and dust tones. Migration sequences focus on feet, sweat, and cracked roads, denying panoramic beauty. These ground-level close-ups produce an aesthetic of exhaustion, immersing viewers in bodily fatigue rather than visual pleasure.

The minimalist score by Naren Chandavarkar and Benedict Taylor resists emotional manipulation. Silence dominates moments of grief, allowing ambient sounds to carry affect. Tragedy remains unresolved, deeply personal, and unsettling.

Censorship, Ethics, and Market Hostility

The Central Board of Film Certification ordered 11 cuts, including muting everyday words and removing brief visuals. These changes reflect ideological anxiety rather than moral concern. Ishaan Khatter’s criticism of “double standards” exposes how socially conscious cinema faces harsher scrutiny than escapist entertainment.

Ethical concerns further complicate the film’s reception. Allegations of plagiarism and the marginalization of Amrit Kumar’s family raise questions about artistic appropriation. Can awareness justify exclusion? Ethical filmmaking demands accountability to lived realities, not just representational intent.

Despite international acclaim, Homebound failed commercially due to limited screens and weak distribution. Karan Johar’s remarks about avoiding “unprofitable” films expose the market’s hostility toward serious cinema in post-pandemic India.

Personal Reflection

While watching Homebound, I noticed the film’s deliberate silence on pandemic misinformation, political announcements, and religious coping mechanisms that shaped everyday life during lockdown. The absence of media narratives, public speeches, or faith-based responses narrows the film’s focus to individual suffering.

This choice strengthens emotional intimacy but limits sociopolitical scope. The film becomes less about the nation’s collective response and more about personal abandonment. Whether this restraint is ethical clarity or narrative omission remains open to debate.

Conclusion: Dignity as a Denied Right

Homebound ultimately argues that dignity is not a reward earned through obedience or aspiration—it is a basic right systematically denied. The “journey home” functions both as physical migration and moral metaphor. Neither the nation nor the village offers refuge.

The film refuses catharsis. Instead, it leaves viewers with a devastating truth: in a society structured by caste, religion, and institutional apathy, equality exists only when everyone is equally abandoned.

The Joys of Motherhood by Buchi Emecheta

This blog is part of thinking activity assigned by Ms. Megha  Ma'am Trivedi to critically analyse the motherhood in 21st century,  The Joys of Motherhood by Buchi Emecheta and  film/TV serial/advertisement/web series.

1) If Nnu Ego were living in 21st-century urban India or Africa, how would her understanding of motherhood, identity, and success change?

Introduction

If Nnu Ego, the tragic protagonist of Buchi Emecheta’s The Joy of Motherhood, were transposed into 21st-century urban India or Africa, her understanding of motherhood, identity, and success would be significantly reshaped, though not completely liberated from patriarchal residue. Modernity would offer her new possibilities of selfhood, yet cultural expectations surrounding women and motherhood would continue to exert pressure.

Motherhood: From Sacred Destiny to Negotiated Choice

In traditional Igbo society, motherhood is sacralized and absolutized. A woman’s worth is measured almost entirely by her ability to bear children—especially sons. Nnu Ego internalizes this belief so deeply that childlessness initially drives her to despair and near annihilation of selfhood.

In a 21st-century urban context, however, motherhood would be:

• demystified

• medicalized and planned

• separated from moral worth

Urban India and Africa increasingly acknowledge motherhood as a choice rather than a compulsory destiny, shaped by:

• family planning

• reproductive rights

• economic constraints

• women’s education

Nnu Ego would likely view motherhood as one aspect of life, not its total meaning. Instead of measuring her success by the number of children she produces, she might focus on quality of care, emotional bonds, and balance between self and family.

Most importantly, modern discourse would help her recognize that self-sacrifice is not the same as love, a realization denied to her in the novel.

Identity: From Relational Self to Individual Subject

Nnu Ego’s tragedy lies in the fact that she never develops an identity independent of others. In the novel, she exists only in relation to men and children—as Agbadi’s daughter, Nnaife’s wife, and Oshia’s mother. Her repeated question, “When will I be free?”, reveals her lack of personal autonomy. In a 21st-century urban setting, this limited understanding of identity would be confronted by new possibilities. Urban life encourages women to see themselves as individuals with personal ambitions, opinions, and rights. Through exposure to feminist thought, economic independence, and legal protection, Nnu Ego would gradually learn to view herself as a complete human being rather than merely a functional role. Although cultural conditioning might still cause internal conflict, she would have the language and social space to question her self-effacement and seek personal fulfilment beyond familial obligations.

One of the greatest tragedies of Nnu Ego’s life is the absence of a self beyond relationships. Her identity is entirely relational:

• daughter of Agbadi

• wife of Nnaife

• mother of Oshia and others

She does not exist as an autonomous individual. Her haunting question—

“When will I be free?”

reveals her deep existential entrapment.

In the 21st century, urban spaces foster the idea of the individual woman as a subject, not merely a role-bearer. Exposure to:

• feminist ideologies

• women’s employment

• legal protections

• peer communities

would allow Nnu Ego to conceptualize herself outside marriage and motherhood. She might still struggle emotionally due to cultural conditioning, but she would no longer lack language or frameworks to articulate her suffering.

Thus, her identity would shift from self-erasure to self-recognition, even if imperfectly realized.

Success: From Patriarchal Promise to Human Fulfillment

In traditional society, success for a woman like Nnu Ego is measured by the number of children she bears and the respect she gains through them. She believes that her sacrifices will be rewarded in old age when her children care for her. The novel brutally exposes the failure of this belief when her sons abandon her, leaving her to die alone. In the 21st-century urban context, success is defined far more broadly. Women are increasingly encouraged to pursue financial stability, emotional well-being, dignity, and independence. Nnu Ego might therefore redefine success as living a secure and meaningful life rather than earning posthumous praise. Instead of hoping to be remembered as a “great mother,” she might aspire to be recognized as a fulfilled individual whose life had value beyond sacrifice.

For Nnu Ego, success is defined traditionally as:

• having many children

• securing sons’ loyalty

• gaining social respect in old age

Ironically, this promise collapses cruelly when her children abandon her, revealing the hollowness of patriarchal assurances.

In contemporary urban society, success is:

• plural

• personal

• internally defined

Nnu Ego might redefine success as:

• emotional security

• economic independence

• dignity and self-respect

• mutual care, not one-sided sacrifice

Rather than aspiring to be a “canonized mother” after death, she might seek a life lived with agency and presence.

Conclusion

Thus, if Nnu Ego were living in modern urban India or Africa, her understanding of motherhood, identity, and success would shift from rigid traditional definitions to more flexible and humane interpretations. While traces of patriarchal expectation would persist, she would no longer be trapped within a single narrative of womanhood. Modernity would offer her alternatives that affirm her individuality and dignity.

2) Buchi Emecheta presents motherhood as both fulfilment and burden. Do you think the novel ultimately celebrates motherhood or questions it?

Although The Joy of Motherhood initially appears to celebrate motherhood as sacred and fulfilling, the novel ultimately questions, destabilizes, and critiques motherhood as an institution shaped by patriarchy and colonial modernity.

Motherhood as Ideological Fulfilment

At the beginning of the novel, motherhood is presented as deeply fulfilling. Nnu Ego’s joy at childbirth reflects the cultural belief that children bring honor, continuity, and purpose to a woman’s life. Through these early depictions, Emecheta acknowledges the emotional satisfaction and social recognition that motherhood can provide. This portrayal explains why Nnu Ego clings so desperately to the idea of motherhood, even when it causes her immense suffering.

At the novel’s outset, motherhood is portrayed as:

• the highest female achievement

• a spiritual and cultural duty

• a source of social legitimacy

Nnu Ego’s joy at childbirth reflects a deeply ingrained belief that motherhood grants women immortality through lineage. This belief aligns with traditional African communal values where children ensure continuity and care.

At this stage, Emecheta allows motherhood to appear emotionally fulfilling, reinforcing why women like Nnu Ego embrace it unquestioningly.

Motherhood as Lived Burden

As the narrative progresses, Emecheta gradually exposes the darker reality of motherhood. Nnu Ego’s life becomes a continuous struggle to provide for her children, often at the cost of her health and happiness. Motherhood demands relentless labor but offers no security or recognition in return. Emecheta highlights how maternal sacrifice is normalized and expected, turning motherhood into an exploitative institution rather than a source of joy.

As the narrative progresses, Emecheta strips away the romantic veneer. Motherhood becomes:

• physically punishing

• emotionally exhausting

• economically devastating

Nnu Ego works relentlessly to feed her children while receiving:

• no emotional support

• no financial security

• no recognition

Her suffering exposes motherhood as gendered labour—essential yet unpaid and invisible.

Colonial Capitalism and the Breakdown of Communal Support

The burden of motherhood is intensified by the colonial urban setting of Lagos. Traditional communal support systems that once helped mothers no longer exist, yet patriarchal expectations remain unchanged. Nnu Ego is left isolated, bearing the full weight of maternal responsibility without assistance. This context reveals how colonial modernity worsens women’s suffering by combining economic hardship with traditional gender roles.

One of Emecheta’s sharpest critiques lies in linking motherhood’s burden to colonial urban capitalism. In Lagos:

• communal childcare collapses

• men’s authority remains intact

• women bear responsibility without support

Thus, motherhood is doubly oppressive—rooted in tradition but intensified by colonial modernity.

The Irony of the Title and Ending

The title The Joy of Motherhood is deeply ironic. Nnu Ego dies alone, abandoned by the very children for whom she sacrificed everything. The final chapter, “The Canonized Mother,” exposes the hypocrisy of a society that glorifies women only after their suffering has destroyed them. This ending makes it clear that the novel does not celebrate motherhood uncritically but exposes its tragic cost.

The title The Joy of Motherhood is profoundly ironic. Nnu Ego’s death in isolation exposes the false promise that motherhood guarantees fulfillment or security.

The final chapter, “The Canonized Mother,” condemns a society that:

• exploits women in life

• glorifies them only in death

This canonization is not celebration but satirical indictment.

Does Emecheta Reject Motherhood?

Crucially, Emecheta does not reject motherhood itself. Instead, she questions:

• compulsory motherhood

• sacrificial motherhood

• motherhood as the sole female destiny

The novel calls for a redefinition of motherhood based on choice, reciprocity, and dignity.

Conclusion 

Ultimately, Buchi Emecheta does not reject motherhood itself but questions the romanticized and compulsory form imposed on women. The novel challenges the idea that motherhood is naturally fulfilling and reveals how it becomes oppressive when stripped of choice and support. The Joy of Motherhood thus stands as a powerful critique of the social systems that exploit women under the guise of maternal idealization.

3)  How is motherhood portrayed in a film/TV serial/advertisement/web series (Add two to three examples), and how is it similar to or different from Nnu Ego’s experience in ?

Motherhood in popular visual media such as films, television serials, advertisements, and web series is often idealized, emotionalized, and romanticized. These representations shape social expectations by presenting motherhood as a natural source of joy, fulfillment, and moral superiority. However, when compared with Nnu Ego’s lived experience in Buchi Emecheta’s The Joy of Motherhood, a striking contrast emerges between representational motherhood and experienced motherhood.

Motherhood as Emotional Sacrifice in Film: Taare Zameen Par (2007)

In Taare Zameen Par, motherhood is portrayed as emotionally nurturing and morally redemptive. Ishaan’s mother is shown as caring, anxious, and deeply attached to her child. Although she initially fails to understand Ishaan’s learning difficulties, her love is constant and unquestioned. The film presents motherhood as an emotionally intense bond in which the mother’s suffering is meaningful because it eventually leads to her child’s well-being and success.

This portrayal is similar to Nnu Ego’s experience in the sense that both mothers sacrifice endlessly for their children. Like Ishaan’s mother, Nnu Ego believes that a mother’s duty is to endure suffering silently. However, the difference lies in the outcome. In Taare Zameen Par, maternal sacrifice is ultimately rewarded through the child’s emotional growth and social recognition. In contrast, Nnu Ego’s sacrifices lead to abandonment and loneliness. Her children do not become sources of emotional fulfilment but reminders of broken promises. Thus, while cinema presents sacrifice as purposeful and healing, Emecheta exposes it as tragically futile.

Motherhood as Moral Ideal in Television Serials: Anupamaa

Indian television serials such as Anupamaa portray motherhood as a moral and emotional ideal. Anupamaa is shown as endlessly giving, forgiving, and emotionally available to her children even when they disrespect or exploit her. Motherhood is represented as a woman’s central identity, and suffering is glorified as proof of moral strength. Even when Anupamaa seeks independence, the narrative repeatedly brings her back to her maternal role.

This portrayal closely resembles Nnu Ego’s ideological conditioning. Like Anupamaa, Nnu Ego believes that a good mother must sacrifice everything without expecting anything in return. However, the difference lies in narrative justice. Television serials eventually reward maternal endurance by restoring respect, recognition, or emotional reconciliation. In The Joy of Motherhood, there is no such narrative consolation. Nnu Ego’s life ends without recognition, and society praises her only after her death. Emecheta thus critiques the very ideology that TV serials continue to reinforce—that motherhood must be self-denying and saintly.

Motherhood in Advertisements: “Maa ke Haath ka Khana” (Food Brands / Baby Products)

Advertisements frequently portray motherhood as instinctive, joyful, and emotionally fulfilling. Mothers are shown smiling while cooking, feeding, or caring for their children, suggesting that maternal labor is effortless and naturally rewarding. Pain, exhaustion, and emotional struggle are carefully erased to maintain a comforting image of the selfless mother. Best example is below advertisement how mother carry professional duty with selfless motherhood...

This representation is fundamentally different from Nnu Ego’s reality. While advertisements reduce motherhood to emotional warmth and domestic happiness, Emecheta presents it as physically exhausting and economically oppressive. Nnu Ego’s motherhood involves hunger, labour, and despair rather than smiles and fulfillment. Advertisements create an illusion of maternal joy, whereas The Joy of Motherhood dismantles this illusion by revealing the cost hidden behind such images.

Overall Comparison with Nnu Ego’s Experience

Across films, serials, and advertisements, motherhood is portrayed as meaningful because it is emotionally rewarding, socially recognized, and ultimately fulfilling. Suffering is shown as temporary and purposeful. In contrast, Nnu Ego’s experience reveals motherhood as a lifelong burden shaped by patriarchy, poverty, and colonial modernity. Her suffering is permanent, unacknowledged, and unrewarded.

While popular media often reinforces the myth that motherhood is a woman’s natural destiny and greatest achievement, Emecheta questions this assumption by presenting motherhood as a socially imposed role that erases women’s individuality. Nnu Ego’s tragedy lies not in being a mother but in being denied any identity beyond motherhood.

Conclusion

Motherhood in popular visual media tends to romanticize sacrifice and promise emotional returns, whereas The Joy of Motherhood exposes the harsh reality behind such representations. By contrasting idealized media images with Nnu Ego’s lived experience, Emecheta challenges audiences to reconsider the cultural narratives that glorify maternal suffering while ignoring women’s humanity. The comparison reveals that what is celebrated as “joy” in representation often becomes “tragedy” in lived experience.

References

Barfi, Zahra, et al.   A Study of Buchi Emecheta’s the Joys of Motherhood in the Light of Chandra Talpade Mohanty: A Postcolonial Feminist Theory, www.researchgate.net/publication/333296130_A_Study_of_Buchi_Emecheta%27s_The_Joys_of_Motherhood_in_the_Light_of_Chandra_Talpade_Mohanty_A_Postcolonial_Feminist_Theory. Accessed 29 Jan. 2026. 

kapgate, Laxmikant. Mother’s Intricacy in Buchi Emecheta’s the Joys of Motherhood, www.researchgate.net/publication/384337796_Mother’s_Intricacy_in_Buchi_Emecheta’s_The_Joys_of_Motherhood. Accessed 29 Jan. 2026. 

Khalaf, Mohamed. “Cultural Collision and Women Victimization: A Study of Buchi Emecheta’s the Joys of Motherhood (1979.” Academia.Edu, 29 Feb. 2020, www.academia.edu/42105987/CULTURAL_COLLISION_AND_WOMEN_VICTIMIZATION_A_STUDY_OF_BUCHI_EMECHETAS_THE_JOYS_OF_MOTHERHOOD_1979.