Reconstructing Midnight's Children and Shame

Abstract

In Midnight's Children and Shame Salman Rushdie has presented the world with certainly the most talked about and probably the most incisive treatments in English fiction of the Indian subcontinent since A Passage to India. He has also presented the academic world with what seem almost textbook examples of all that postmodernist criticism tells us should be found in any self-respecting contemporary novel. And who am I to bite the hand that feeds me? Whatever needs illustrating, whether it be reader-response theory or metafiction or the tendency of language to deconstruct, Rushdie obliges. But these features alone cannot account for the widespread acceptance of his novels by a more general readership. And it does seem as if those more traditional attributes of fiction which he also contrives to incorporate are in danger of being overlooked by his scholarly apologists. Of such attributes, the enthusiasm with which he grinds his political axes to so keen an edge is something I shall for the most part assume 'needs no bush.' What will principally claim my attention is the ingenuity with which, out of material which is amorphous as a consequence both of its quantity and of its postmodernist presentation, Rushdie nevertheless creates structure, cohesion, and unity.

Research Analysis on Mooc Course Dropout and Retention Rates

“…In contrast, the high dropout rate of 86% agrees with the statements of Clow (2013), who mentions that the abandonment of online courses is higher than in classroom education. This result is parallel with the report of the University of Toronto, which showed a rate of approximately 8% of students who completed the course (Harrison, 2013 The results of the probabilistic models constructed to measure the weight of the characteristics of participants who drop out or fail to complete a MOOC course, reflect that the participants' likelihood to leave the MOOC course increases when the participant has a lower educational degree level and has no knowledge of copyrights. On the contrary, the probability of abandonment decreases when participants are over 55, have a strong commitment to the MOOC and when they have full or partial employment.…”

“…In contrast, the high dropout rate of 86% agrees with the statements of Clow (2013), who mentions that the abandonment of online courses is higher than in classroom education. This result is parallel with the report of the University of Toronto, which showed a rate of approximately 8% of students who completed the course (Harrison, 2013). Similarly, Lushnikova et al (2013) indicate that about 10 % of the students who enrolled in a MOOC managed to complete the course.…”

“…Massive courses attract thousands of participants who are interested in the offered topic; however, it is important to note that approximately only 10% of the registered students complete the course (Lushnikova et al, 2013). Such case is reported by the University of Toronto (Harrison, 2013), where the percentage of terminal efficiency varied between 3% and 16%. On a similar note, SCOPEO (2013) reported an average of 13.5% of students who completed the course, out of 188,802 registered participants in 58 courses from 18 universities.…”

Electromagnetic Sources and Radiation

“…The role played by the relative phases of the interfering waves is crucial in determining the field. Assume that two elements J s .r The modulus of A is 7 The phases may differ either because of the different phases of the source current or because of the different distance, as outlined later.…”

Going to B(h)ollywood: The Cinematic Techniques of Rushdie’s Midnight’s Children

“…Indeed, some criticis, like Timothy Brennan (1989), have found Rushdie's anti-nationalist, nonfoundational reading of the nation-state particularly prescient and dependent on the above. 1 Rushdie's concerns throughout his fiction with fragmentation are also discussed by DURIX (1989), FLANAGAN (1992), HARRISON (1990), andNAIK (1985). 2 The politics of Rushdie's postmodern politics and narrative mediation are discussed by BANANERJEE (2002), CLARK (2001), CUNDY (1997), DURIX (1982), DUTHEIL DE LA ROCHÈRE (1999), andPATTAYANAK (1983 Midnight's Children functions as a parallel to the viewing of a film, to the working of cinema itself.…”