Literature – Gatong Cheng Hui Sat, 04 Dec 2021 05:07:14 +0000 en-US hourly 1 Literature – Gatong Cheng Hui 32 32 Check out, class 12 English exam, trimester 1, student reaction, paper analysis, question paper, answer key here Sat, 04 Dec 2021 04:00:05 +0000 The Central Council for Secondary Education (CBSE) successfully hosted the Board Exam of the CBSE Term-1 Class 12 2021-22 English (Core) code 301 on Friday December 3, 2021. The The exam took place from 11:30 a.m. to 1 p.m. at various exam centers located across the country and abroad.

The questionnaire had 40 points and had to be attempted in 90 minutes. The questionnaire consisted of three sections (sections A, B and C). There were no negative marks, each question had 0.8 points and more details on these sections are given below.

Section-A (Reading) 18 questions of 0.8 point each (only 14 questions to be answered) on reading skills.
Section-B (Writing) 12 questions of 0.8 point each (only 10 questions to be answered) on writing and grammar skills.
Section-C (Literature) 30 questions of 0.8 point each (only 26 questions to be answered) on skills / case-based questions

“The overall difficulty level of the questions was easy to moderate. The questions were based only on the topics mentioned in the CBSE term-1 program. The reading and literature sections were easy while a few questions in the writing section were a bit tricky. Most of the students were able to complete it on time. The questionnaire consisted of a variety of multiple choice questions. The literature section was based on the NCERT manual, ”said Yogesh Chandra Pandey Principal Educator, Unison World School, Dehradun.

The questionnaire for Quarter 1 with 60 questions had to be solved in 90 minutes, with a reading time of 20 minutes. It had 3 sections devoted to reading, writing and literature.

“The article was a combination of assertions and reasoning, case-based questions, resources, and data interpretation with choices. Students had to answer 50 out of 60 questions, without any negative marks. A unique inclusion was writing skill topics such as articles, reviews, and advertisements which were also tested in the MCQ format. In addition to testing retention and recapitulation skills, students were tested for logical reasoning, analytical thinking, and comparison and contrast, which required higher-order thinking skills, ”said Sunila Athley, principal, Amity International School, Sector-6, Vasundhara, Ghaziabad.

She added that the paper was difficult, forcing candidates to carefully examine the stem of each question in order to select the appropriate option or dismiss distractors.

Vijayalakshmi Dutta, English teacher, JAIN International Residential School (JIRS), Bengaluru, said the questionnaire was tricky. “The questions tested the innate understanding of various concepts and characteristics of writing skills. Literature questions expected students to have a broader view and knowledge of topics and subtopics, ”Dutta said.

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Making Filipino Literature More Accessible to Locals – Manila Newsletter Thu, 02 Dec 2021 06:33:00 +0000

National Book Development Board Launches 52 Indigenous and Remote Reading Spaces in the Philippines

When you were young, how many books did you read that were written by Filipino authors? In your local school or library, other than the Philippiniana sections, have you seen more locally produced reading material? For many, the only time a Filipino book landed during their early college days was when they were studying the local language or history. Some may have found great reads in the works of Dr Jose Rizal and Francisco Balagtas or in contemporary works like Bob Ong, Lualhati Bautista and Ricky Lee, but there are more local stories to discover. Unfortunately, these stories are hardly read or heard, not for lack of interest, but because of the limited spaces that make them available to regular Juans and Juanas. But that is all about to change with the launch of The Book Nook.

Photo by @ nbdb_phil / Instagram

An initiative led by the National Book Development Board (NBDB), The Book Nook is a center where people of all ages can read and borrow books proudly written by Filipino authors. What makes this project even more special is that it also aims to create user-friendly reading spaces “in areas where access to reading materials and the Internet is limited”. To crown National Reading and Book Month last November, the NBDB announced it was able to set up 52 Indigenous and Distance Reading Centers across the country when it launched online on November 24, 2021. .

“These spaces also serve as a resource for children, their parents and teachers to reinforce critical reading and writing of their own stories,” said NBDB President Dantes Francis Ang II. “That this launch signifies our commitment to better serve our country with our brand image”Aklat Para sa Lahat. ‘”

“There is a magic number and it’s 24: 1. This is our import-export disparity. There are 24 times more foreign books entering the country than what we send, ”added BNDB CEO Charice Aquino Tugade. “If you go to our libraries and bookstores, our own content is relegated to a very thin Filipino section. My question is, who do we give primacy to? Shouldn’t we give our own voice a chance? “

“We really want to involve the communities [just to] be more inspired and don’t look outward for inspiration, ”continued Tugade. “We really want something a little more holistic. Whatever Filipino language you speak, you will find that connection with other communities.

A plethora of books can be found on every The Book Nook site. It ranges from fiction and non-fiction books, highlighting topics such as culture, history, art, values, environment, health, science, work, identity, diversity and peace. According to NBDB, about 65 to 70 percent of titles are aimed at children and adolescents, and 30 to 35 percent are dedicated to adults. While many books focus on young readers, the agency assures that even adults will be delighted with stories like “Rizal Without the Overcoat” by Ambeth Ocampo, “Yvette Fernandez”Haluhalo Espesyal, “National artist Rio Alma’s”Ang Mabait na Kalabaw“And” Russell Molina “Tuwing Sabado», Among others.

“In addition to reading, there will be storytelling, arts and crafts, reading and writing workshops and book club meetings,” said BNCD. “Readers can also organize their own events! Depending on the pandemic situation in each region, the programs will either be in person or online. “

Book Nook centers are located throughout the Philippines and are open 10 a.m. to 4 p.m., Tuesday through Saturday. Click here to see where you can find one.



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Kevin McLaughlin to complete his extended tenure as Dean of Brown’s Faculty Tue, 30 Nov 2021 14:46:35 +0000

PROVIDENCE, RI [Brown University] – After more than a decade of accomplished service, Kevin McLaughlin will end his extended tenure as Faculty Dean at Brown University effective June 30, 2022 and complete a sabbatical before returning to faculty as a professor English, Comparative Literature and German Studies. .

During his 11 years as Dean, McLaughlin worked with leaders of universities and academic departments to develop and diversify the faculty and worked tirelessly to enhance the academic strength of departments, centers and institutes on campus. In a Tuesday, November 30, letter to the Brown community, Marshal Richard M. Locke said he was honored to have worked with McLaughlin in this role and that his leadership will be missed.

“Kevin has been a long-time presence on Brown’s leadership team and has been a tireless advocate for the faculty,” said Locke. “He leaves a lasting legacy and impact on our institution, and I am infinitely grateful for his contributions over the past 11 years. Kevin fully deserves our gratitude for his outstanding service and our best wishes for his future endeavors. “

As Dean, McLaughlin worked to create innovative interdisciplinary academic centers, including the Center for the Study of Slavery and Justice in 2012. Photos by Nick Dentamaro

During McLaughlin’s tenure, the number of regular professors under the faculty dean increased from 517 to 609, the largest expansion of faculty ranks in Brown’s history. Among these professors, the number of historically under-represented groups has increased by more than 130%.

McLaughlin helped the University create post-tenure sabbaticals, ‘regularize’ many long-term temporary faculty into permanent lecturer positions with benefits, and reduce the teaching load in the qualitative humanities and social sciences. four to three lessons per year. Each of these efforts highlights its work to ensure fair treatment of faculty across disciplines and demographics, and to create and maintain an inclusive environment for faculty, staff and students at the University.

McLaughlin has been instrumental in enhancing and launching a number of prominent academic entities at Brown, including the Cogut Institute for the Humanities, the Center for the Study of Race and Ethnicity in America, and the Center for the Study of Slavery and Justice.

“Each of these centers has had a significant impact at Brown and in an international context where Brown is a recognized leader,” said McLaughlin. “I have been fortunate to be able to collaborate with exceptional colleagues to create an environment conducive to innovative interdisciplinary research and teaching. “

McLaughlin came to Brown in 1996 as an Assistant Professor of English, reaching the post of Associate Professor of English and Comparative Literature with tenure in 2000 and full professor in 2003. He was appointed George Hazard Crooker Professor of English , Comparative Literature, and German Studies in 2012. McLaughlin was appointed Dean of the Faculty in 2011 by Ruth Simmons, then President; in addition to assuming his new responsibilities as dean, he also continued his studies, publishing two books and teaching undergraduate and graduate courses in 19th century European literature and philosophy.

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Rewards stimulate creatives to carry out their projects Sun, 28 Nov 2021 22:49:00 +0000
Kane Parsons' next project is the legend of Okatia and how she shaped Te Apiti, the gorge of Manawatū.  Son Kippy Hehir-Parsons, 4, was present when he performed a previous play for Te Marae o Hine / The Square.


Kane Parsons’ next project is the legend of Okatia and how she shaped Te Apiti, the gorge of Manawatū. Son Kippy Hehir-Parsons, 4, was present when he performed a previous play for Te Marae o Hine / The Square.

Palmerston North musician and songwriter Kane Parsons is this year’s biggest winner of the Earle Creativity and Development Trust Awards.

He received $ 16,400 to compose a bicultural orchestral work based on The Legend of Okatia and how it shaped Te Apiti, the gorge of Manawatū.

Parsons said he wanted to work with Toi Warbrick and other artists to help bring the legend to life in music.

The 2021 Trust Awards come from a trust created by Dick Earle and his late wife, Mary, to encourage a range of creative endeavors.

* Memory Lane: A marriage of two worlds
* Artist Warren Warbrick embraces the tools, toil and stamp of the past
* $ 100,000 in grants to encourage creativity in Manawatu

Earle said people with big ideas have often faced the hurdle of finding resources to get their jobs done, and trust has been built to bridge that gap.

The awards were designed not only to benefit the recipients, but the entire community who would be stimulated and enriched by the results, he said.

In total, 14 projects received nearly $ 100,000 to support creative efforts over the following year.

The history and literature scholarships were as follows:

  • Marilyn Wightman, $ 5,000 for a book on historic Feilding homes, Hearths of Feilding Families.
  • Richard Mays, $ 5,000 for Palmy Poetry, to compile an anthology of poems on Palmerston North.
  • Tim Upperton, $ 7,500 for Riderless Horses, to write a collection of poems.
  • Rachel Doré, $ 5,130 to complete a novel, A Respectable Veneer, about a woman moving to Palmerston North and trying to fit in, set in the 1950s.
  • Carly Thomas, $ 6,500 for Before We Forget: Stories through the Manawatū and Rangitīkei, a series of interviews with older members of the community.
  • Miriam Sharland, $ 5,000 for Heart Stood Still, an eco-biography born out of her experience as a homesick immigrant in Palmerston North locked out to get to know the scenery.
  • Dorian Wilson, $ 5,270 to study the history of commemorating people at Terrace End Cemetery.
  • Eljon Fitzgerald, $ 7,650 for Te Matatini ki Rangitāne 2005-2007, a book on the importance of welcoming the revival of New Zealand’s kapa haka festivals.

The music scholarships were:

  • Jeff McNeil, Manawatū Youth Orchestra, $ 8,000 for an intensive workshop for strings and orchestral winds
  • Manawatū Youth for Music Trust, $ 5,000, for a composer in residence to compose for mixed abilities.
  • Guy Broadley, Renaissance Singers, $ 5,400 for a new collaboration, When Choir and Percussion Meet.
  • Kathy Clark, $ 5,400, for a youth music camp, the Gumboots Brass and Wind ensemble.
  • Shellie Hanley, $ 7,000 for Te Huia, an audio visual portrait.

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There is no such thing as a ‘Northeast’ book. The literary establishment is blind to this Sat, 27 Nov 2021 07:00:00 +0000

The “North-East” is a simple geographical direction. But going through how many Indian publishers and literary voices use the term as a signpost for writing that emerges from one of India’s most misnamed and misunderstood regions, one would think as the map of India beyond its “chicken neck” – the Siliguri Corridor, a 60 km long and 22 km wide stretch connecting the seven states of northeast India with the rest country – is stamped with that one word, and everyone lives there in joyful abandon and has a good time, some of them producing “Northeast literature” for the benefit of the rest of the country, including the inhabitants blithely confuse identity and political aspirations, cultural roots and histories.

One size does not fit all

You don’t have “Southern Literature” or “Northern Literature” in India, because the emphasis is on the literary merits of the book, the author, the theme, the language – and the translation and the translator. , if applicable – but if you pick up a book by an author in one of the Northeastern states, chances are that the focus is only on the term ‘Northeast’.

For those who miss the irony here: good literature presupposes precise use of language, so how come that falls off the map when a book from said region is identified as representing an entire monolithic identity, which no doesn’t even exist? One book set in Bombay speaks of a particular philosophy and a specific era, while another set in the context of Bombay signals a different mood. But a book doesn’t take place in Maharashtra either, does it?

But bring a book set in a specific city in a specific state in northeast India, and all descriptions and analyzes, bouquets and bricks are for this “northeast” job.

Watch the literary festival schedules. While the majority of the events will be author interviews and panel discussions on literary themes, there will be a single niche on the “Northeast”, referring to the “margins” and the “periphery”. After all, it is the exoticism of the “Northeast” that triumphs over everything else. If you look for the panelists, you will also see that they are usually three or four people from Assam. What about the other six states?

A predefined identity

All the drama of contextualizing North East Indian literature as exoticism without any serious attempt to understand, let alone know, the region, but still need to take a tour “We bring you the northeast ”is best addressed in Kashyap’s“ Skylark Girl ”Aruni in her short story collection, His father’s illness. The title of the story refers to a popular tale – told by Sanjib, an Assamese writer – about a girl killed by her stepmother, only to return in another form.

Sanjib is invited to speak at a literary conference in Delhi, where the moderator is, of course, a suave editor at a publishing house that hasn’t read his story but describes himself as “a crusader for them. stories from the North East ”. On the panel with Sanjib are other authors whose works are clearly the worst of writing tropes where the region is exploited as exotic and then normalized with elements of the mainstream. “Why don’t you write about conflicts? »Says the editor to a writer who had to struggle to get his writings translated from Assamese to English.

Kashyap’s story is a smart and timely examination of the prejudices and realities within North East India as well, as well as those held by people outside. Everything about this story is a mirror of how literature in India is where it is today: centrist, populist, and happy to peddle exoticism, while real gems are scattered or wrapped up in designated spaces.

Sadly, the underlying currents of this story do exist in the literary world. Any book from any part of the region that talks about the insurgency, even in passing, is meant to be a standard bearer for “growing up in the midst of the insurgency in the Northeast.” No fiction will give real meaning to the many insurgencies in northeast India. For that, one has to read non-fiction – Sanjoy Hazarika, Pradip Phanjoubam, Rajeev Bhattacharjee, Bertil Lintner, Niketu Iralu, Nandita Haksar, Hokishe Sema, Mamang Dai, and Willem Schendel, to begin with – and follow current political narratives, for the insurgency movements in the various states are not only different from each other, but even in conflict with each other.

And what do the actual inhabitants of the Seven States think of the amorphous description of being “Northeast”? The region is full of ethnocentric and political identity fault lines, with choices split between secession, autonomy and reluctant status quo, and there is no way everyone here is ready to embrace the same unique identity.

Meanwhile, even if the guilt edition – publishers, bookstore shelves, media, literary prizes – makes sure to make room for books “located in the northeast”, you won’t see those books listed. on must-see literary lists, or spoken about by ordinary readers. After all, “Northeast” is a simple exotic flavor highlighted with great flowering to prove the diversity credentials of the literary establishment. It’s time to do better. Much better.

Chitra Ahanthem is the former editor-in-chief of Free Imphal Press, a newspaper published in Manipur. She is also a translator from Manipuri to English.

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Triple negative apocrine carcinoma as a rare cause of breast mass in a Syrian woman: a case report and review of the literature | BMC Women’s Health Thu, 25 Nov 2021 13:03:01 +0000

Although apocrine carcinomas were first described by Krompecher et al. [5], the histological criteria for diagnosing apocrine carcinomas were not defined until Japaze et al. suggested that apocrine differentiation, characterized by the proliferation of large, well-defined cells with abundant eosinophilic granular cytoplasm, large vesicular nuclei with an N / C ratio of 1: 2 or greater, and visible nucleoli, should be detected in more 75% of neoplastic cases. cells [6]. Later, Vranic et al. proposed that in terms of the diagnosis of apocrine carcinomas, the aforementioned features should be detected in more than 90% of neoplastic cells with a distinct steroid hormonal profile defined by negative expression of ER and PR and positive expression of AR as in our case [2]. These strict criteria explain the rarity and difficulty of diagnosing pure apocrine carcinomas which constitute less than 4% of breast cancers, compared to the apocrine differentiation which is present in approximately 30% of benign and malignant breast lesions. [1].

Apocrine carcinoma is similar in clinical presentation to invasive ductal carcinoma. They both have a predominance in women over 40 as in our case, and the presentation varies from asymptomatic to the presence of a palpable mass. [1, 7]. Our patient presented with a painless, palpable mass in her left breast with no skin changes.

Apocrine carcinomas have demonstrated disparities in radiological features. Onoué et al. reported two hypoechoic cysts on ultrasound with papillary projections [8], while Gokalp et al. described two invasive apocrine carcinomas presenting as a solid lesion and a complex cyst, respectively [9]. In a study by Seo et, five ACs presented as heterogeneous solid masses of irregular shape not circumscribed on ultrasound [10]. In our case, ultrasound revealed a well-defined hypoechoic cyst with heterogeneous components. On mammography, most cases of apocrine carcinoma present with microcalcifications. However, Kim et al. reported a case of AC presenting as an oval nodule without microcalcifications [11].

The main differential diagnoses are oncocytic carcinoma and invasive ductal carcinoma. Invasive ductal carcinoma is similar in architectural growth pattern to apocrine carcinomas. However, the cytological characteristics of the apocrine cells are crucial to confirm the diagnosis. Apocrine cells are classified into type A cells which are characterized by abundant granular eosinophilic cytoplasm and type B cells which have abundant foamy cytoplasm with intracytoplasmic lipids. In our case, most of the cells were type A. Differentiating apocrine carcinomas from oncocytic carcinomas is more difficult because they both have large, strictly defined cells with abundant eosinophilic granular cytoplasm. Therefore, immunohistochemistry is essential. Oncocytic carcinomas could be excluded in our case by the negativity of ER and PR with the positivity of AR and GCDFP-15 [1, 12].

Macroscopic cystic disease fluid protein-15 (GCDFP-15) and androgen receptor (AR) are known to be the hallmarks of apocrine differentiation despite their presence in other breast carcinomas. In addition, the negative expression of ER, PR, BCL2 and GATA3 also defines apocrine differentiation [1, 13]. In our case, we succeeded in confirming the diagnosis based on the positive expression of AR, GCDFP-15 and CK, with negative expression of ER, PR and HER2.

Overexpression of HER2 / new was detected in 54% of cases of apocrine carcinoma in a study by Vranic et al. [2], whereas HER2-negative apocrine carcinoma is defined as TNAC triple-negative apocrine carcinoma, which is a rare distinct subtype of triple-negative breast carcinoma TNBCs, characterized by negative expression of ER, PR and HER2 with expression positive AR [1, 2]. In a large population-based study conducted by Liao et al. out of 19,900 cases of TNBC, apocrine carcinomas were diagnosed in 199 cases (1%) [3]. This highlights an additional particular point in our rare case of triple negative apocrine carcinoma, besides being considered – to our knowledge – the first case report in Syria.

Most HER2 / neu negative apocrine carcinomas or triple negative apocrine carcinomas demonstrated EGFR overexpression and vice versa. In addition, Vranic et al. detected polysomy of chromosome 7 in several cases of pure apocrine carcinomas [2]. In a study by Farmer et al., Activation of the AR pathway was detected in apocrine carcinomas [14]. In addition, two studies by Naderi et al. demonstrated interference between AR with the extracellular signal-regulated kinase ERK pathway and GCDFP-15 was actively regulated by the aforementioned pathway [15, 16].

Additionally, in a large genomic sequencing study, Sun et al. demonstrated that PIK3CA was the most predominant mutated gene in triple negative apocrine carcinomas, with p.H1047R representing the most recurrent mutation. Therefore, PIK3CA inhibitors could represent promising treatments for TNACs mutated by PIK3CA. The PTEN gene was also strongly mutated in the aforementioned study, while TP53 mutations were less frequently detected in TNAC cases, unlike in triple-negative non-apocrine breast cancers. [17]. In our case, molecular and genetic studies were not available due to economic restrictions in our country, which increased the challenges of diagnosis. However, through detailed clinical, histological and immunohistochemical correlations, we were able to successfully diagnose and manage the patient.

In a large cohort study conducted by Arciero et al., Triple-negative apocrine carcinomas TNACs had significantly better overall survival compared to invasive triple-negative ductal carcinomas TNBCs. In addition, their study demonstrated that most cases of TNAC were associated with older age, lower T stage, and tumor grade. [4]. Similar results have been demonstrated by Wu et al. in a large SEER-based study and in a small, limited case-control study by Meattini et al. Studies have referred this difference to the overexpression of AR and GCDFP-15 which may be associated with decreased tumor proliferation and, subsequently, better prognosis. [18, 19].

In addition, expression of RA in apocrine carcinomas could represent a potential target for treatment of TNAC, although studies regarding the efficacy of antiandrogens are still limited. [20]. A study by Gucalp et al. on bicalutamide in patients with triple-negative AR-positive breast cancer reported a 19% clinical improvement in the phase 2 clinical trial [21]. Other promising approaches include targeting the oncogene phosphatidylinositol 3-kinase (PIK3CA) as well as inhibiting CDK4 / 6 cyclin-dependent kinases which are increased in apocrine carcinomas. [22, 23]. In a study by Lia et al., TNBCs with residual disease had better overall survival after adjusting for conventional chemotherapy, while neoadjuvant chemotherapy improved overall survival in TNBC patients with a complete pathological response. [24]. Therefore, the correct treatment decision is still controversial and further studies are recommended to assess appropriate treatment options. In our case, surgical excision had a crucial role in establishing the correct diagnosis in addition to its importance in the treatment of non-metastatic apocrine carcinoma. In addition, adjuvant chemotherapy with paclitaxel and carboplatin was performed as a first-line treatment in our case of triple negative apocrine carcinoma.

In conclusion, although triple negative apocrine carcinomas are extremely rare neoplasms, they should be considered in the differential diagnosis of breast lesions, and the diagnosis should be based on strict criteria by evaluating the morphological features of apocrine differentiation as well. than immunohistochemical examinations. In our manuscript, we sought to present the first case report of a Syrian woman diagnosed with this rare malignant tumor, with the aim of emphasizing the importance of detailed clinical, histological and immunohistochemical correlations despite all the circumstances in order to assess appropriate care.

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Josefa contributes to the development of children’s literature in the Pacific Tue, 23 Nov 2021 22:21:24 +0000 The feeling of seeing his illustrations published and knowing that he was helping educate the young minds of the Pacific inspired Jo to continue his journey as an illustrator.

Josefa Uluinaceva, or Jo as he is affectionately known, has been instrumental in the development of children’s literature in the Pacific for many years, in addition to his daily work as a graphic artist in the Marketing and Design Division. communications from the University of the South Pacific.

Many of us who attended elementary school in the Pacific in the 1990s remember reading books with Jo’s illustrations.

Some of the books he has illustrated include “Priya and Kaman’s Holiday” by Sendar Pillay; “Our New Car” by Taniela Qoroya; “Qalo” by Bessie Kingdon; “Going to the Beach” by Bessie Kingdon; “Two Stories from Tuvalu” by Maseiga Ionatana; “More fish! by Meere Tion Tebeia; “A new broom for Tima” by Keleni Bola; “Weaving” by Rejieli Racule; “Mere and the caterpillar” by Sereima Lumelume and Neil Taylor and “An Island” by Eadinur Deiye.

He has also worked with authors like Cliff Benson, Vika Maloni, Merieisi Sekinabou Tabualevu, Sereima Raimua, Joseph Veramu, Teweiariki Teaero and many others from across the Pacific whose work has been published by the Institute of Pacific Studies of the ‘USP.

Ms. Barbara Moore sparked Jo’s interest in illustration. When Jo was just starting out as a graphic illustrator, she worked in the USP Institute of Education office on Clark Street, Domain in Suva. Ms. Moore has been dedicated to educating children and was awarded the New Zealand Literacy Association (NZRA) Merit in 1996 for her contributions to reading and New Zealand.

“This time I had just left school and started my first job and Ms. Moore asked me if I was interested in illustrating children’s books part time. I took this opportunity and since then I have met many authors from the Pacific with whom we have collaborated for their publication, ”he said.

Jo’s popularity as an illustrator increased during the time that elementary and high school teachers participated in the creation of children’s books as part of an initiative of the USP Institute of Education.

He has continuously developed his art of illustration through workshops to be developed in the field of illustration of children’s books.

“I was delighted to embark on this new journey where I could use my limited drawing skills for a good cause,” he added.

“Every job I did was a natural progression from my technique of black pen ink illustrations and trying out different styles, including pencil drawing. I was only limited to black and white drawings due to the cost of producing the book.

The feeling of seeing his illustrations published and knowing that he was helping educate the young minds of the Pacific inspired Jo to continue his journey as an illustrator.

“There is a feeling of joy seeing my work published and knowing that children in Pacific countries have read the books.

“If it helped them in their reading and made them progress further, whether it was in their vernacular or their knowledge of the English language, then I can say it’s worth it.
“Some of these children have grown up and are working now. I am happy to have participated in their development.

His advice to aspiring illustrators is to always look for new opportunities and be versatile in their work.

“It’s hard to make a living illustrating alone in the Pacific, but try doing other creative work like graphic design, video production, animation and other similar fields where you can still use your skills. creative skills, ”said Jo.

The various books illustrated by Jo can be found in the Pacific Collection section of the University of the South Pacific library.

Source: USP press release

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“Much of the English music I sang was inspired by the Hindustani classic”: Amit Chaudhuri Mon, 22 Nov 2021 05:00:12 +0000 Was the release of your latest album, Seventeen, around the same time as your book, Finding the Raga: An Improvisation on Indian Music, a conscious decision?

No, it just happened. Adam Moore, who plays guitar with me when I play in England, has mastered the songs to reduce some of the radio noise. Then I let it sit and was busy with other things. I’m talking about my singer-songwriter period in the book, so I thought I had to confirm that.

Was it difficult to create original English songs as a young adult when most of India didn’t listen to them?

When I was writing these songs, I was already making my way through classical Hindustani music. Much of the music I sang was inspired by there. I sang Armistice Hour, one of the Seventeen songs, for my teachers who were invited home after I hadn’t shamed my ICSE exams too much when I was 15. I also entered a college talent competition, which was to be judged by Nandu Bhende (who sang with rock bands Velvette Fogg and Savage Encounter and played Judas in the adaptation of Alyque Padamsee’s play Jesus Christ Superstar, 1974). Everyone sang covers but I sang my own song, Shout. People immediately started heckling me. But in the end, they gave me enthusiastic applause. I won this competition. One of the contest participants was activist Sanjay Ghose (kidnapped and killed by ULFA in 2008). He had arranged to have a niche on Bombay All India Radio and I would go with my guitar and sing my own songs. When these songs were played, my mom would record them on a two-in-one. Once AIR found out that I was singing my own stuff, they stopped inviting me.

How was the song Charas born?

(Laughs) It’s from the time when I had long hair and pretended to smoke weed and charas (cannabis). I have never touched any of these drugs. It gave me the chance to compose a song with a blues structure, and also to speak of a feeling of illusion.

Many musicians tend to cringe at their old work. How do you see Seventeen?

I don’t see it as my old job, I see it as the work of a different me. It didn’t matter if the ego was still evolving at that time in terms of its ideas about poetry and literature. So I want to look at this me that’s not trying to be someone else, not trying to be Paul McCartney or Bob Dylan, but working with something. And that’s why I put it there.

Cover jacket of his latest album Seventeen, released earlier this year

What was your perception of yourself while writing these songs?

From 1979 to 1983, I isolated myself completely. The only people I worked with were my gurus and my parents. I didn’t have any friends. I had voluntarily withdrawn from this world. I had always felt a sort of resistance to Bombay’s unconditional adherence to the so-called English language pedigree, as well as Hollywood and Western pop, mainly because I had been exposed to Bengali culture – a completely modern culture with its own literature, children’s books, literature, songs, radio programs. So why does it always have to be in Bombay, to do this in English? I was also becoming more and more disenchanted with this corporate world even though my father was doing well. I also composed these songs in the context of this self-imposed loneliness. In a song like Shame, I conceived – I felt intensely for and intensely deprived of – a loved one who was not there. The bhakti poetry or the bhajans my mother sang exposed me to this idea of ​​love for invented beings.

What were the outside influences, what did you read and listen to besides poet William Blake and Bengali literature?

I was very struck by the Bhakti poetry. And by the idea of ​​viraha, which interests (Rabindranath) Tagore, and which comes to him from his interest in Kalidasa. Meghdoot is all about viraha. This whole concept of being separated from someone you don’t actually see, truth and truthfulness is more than being with that person, separation being a state of being that produces its own meaning. I had spent so much time listening to people on this in, as I call it, the tradition of American or Canadian singer-songwriters. Among others, there were Neil Young and Joni Mitchell, the greatest songwriter of the generation. I loved the sustained chords – there was a nice ambivalence about it.

Didn’t you have a lot of love for Bob Dylan?

I had mixed feelings about him. I really like some of his songs, especially (the albums) John Wesley Harding (1967) and Blood on the Tracks (1975). Musically, as a songwriter, he interested me deeply. But he did not bewitch me. With songs like Expecting to Fly or I Am a Child by Buffalo Springfield (Young’s group in 1968) or Mitchell, I was spellbound. And I couldn’t figure out what that spell was. I was not in this state of enchantment with Dylan. He also purposely cultivated this knowing everything, it was a part of the personality that he cultivated. I wasn’t very interested in the irony of this character. I love the kind of enchantment and the feeling of abandonment that I felt listening to Mitchell, as complex as the songwriting was, there was always a dimension, which was dreamlike.

Why did you choose to be known only as a writer, and not as a musician, during all this time?

I thought there would be skepticism that a writer who publishes novels and is doing a PhD could be a serious Indian classical musician, which I was at the time. It was a very different time and you held back rather than advertise. And I didn’t have time to promote myself as a musician. To progress you must be part of a gharana with patronage. I was the only disciple of my generation at Kunwar Shyam Gharana but my guru Govind Prasad Jaipurwale passed away at the age of 44. And I was already well enough known as a writer. Going to sit in front of someone’s desk, waiting to be admitted to a conference, was something I felt a lot of prejudice against.

Musicians like Miles Davis, Charlie Parker, and Dizzy Gillespie, among others, decided early on that they weren’t going to be part of the Black Minstrel – they didn’t want to be artists. Almost as a snub to this, they decided that, both in music and in their personal lives, it was difficult. And being difficult and spreading complexity is a way to distance yourself from that role that you are supposed to play as an artist. Music also manifests a particular form of aesthetic pride. It was there with these musicians and I think it was there with me for several decades. It was definitely one of the things besides reluctance and shyness, which was also a manifestation of that pride… I mentioned it finally, after (the album) This is Not Fusion (2007). That’s when people started telling me that you really had to do a little more than what you do to disseminate your work.

You wrote the libretto for Pandit Ravi Shankar’s last piece of music, the opera Sukanya (completed and premiered posthumously in 2017). Where is the complicated and radically different system of Western classical music located in your Hindustani classical world?

I am not a far expert. I have not listened to Western music with the slightest degree of seriousness. The only interesting ones that I have listened to are the ones that I discovered by accident. I object to the secular understanding, which is fairly universal, of what Western classical music is sort of telling us. In Hindustani classical music, the Shree raga has no composer. But this music is great music. Since the value system in the West is centered not only on music and compositions, but also on composers like Beethoven and Mozart, they become part of this idea of ​​cultural property. How to describe what happens in Hindustani classical music and the innovations it has brought?

How do you align your different worlds – writing (novels and songs), Western music, Hindustani classical?

It’s not that hard to line up because even when I’m writing I’m very aware of the word as not only a unit of information, but also sound and how it can have various associations. The word carries not only the meaning identified with it, but various other meanings, which is not the work of a science textbook or journal article to exploit, but that of a writer. Something beyond meaning in the conventional sense. To write is, in fact, to go beyond the purely informative. So, it points us to the possibility that other directions have meaning beyond what we identify as meaning. So there is not as much of a discrepancy as it seems.

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students invited to participate in Letters About Literature Texas competition | New Thu, 18 Nov 2021 20:00:00 +0000

The Texas Center for the Book has launched the 2021-2022 Letters About Literature Texas competition, a program that invites students to respond to authors of books or poetry who have touched their lives. The competition is open to Texas students in grades 4 through 12.

Students, educators, and families are encouraged to join the Texas Center for the Book to promote the joys of reading and writing.

Participants choose a book, a series of books, an essay, a play, a poem, a short story or a speech that has had a lasting impact on their lives. They then write a personal letter to the author that reflects how they have been modified, inspired or motivated by the work they have selected.

State winners receive $ 100 and will be honored at the Texas Library Association’s 2022 conference.

All submissions for the 2021-2022 competition must be submitted through the online platform,, by 5:00 p.m. on Friday, December 17, 2021. An authorization form is required for all students under the age of 13 . November 4, 2021.

To learn more about the competition, how to submit, and view winning entries from previous years, visit The site includes a frequently asked questions page, student and faculty submission guidelines, letters from past winners, author videos, and official contest rules. Visit the Teacher Resources page for your own printable bookmarks and student documents, certificates of attendance, key dates, authorization forms, and a step-by-step teaching guide with writing prompts.

For more information on Texas Center for the Book initiatives, visit or contact TCFB coordinator Rebekah Manley at

Established in 1987, the Texas Center for the Book seeks to stimulate public interest in books, reading, literacy, and libraries. The Center forges partnerships with library professionals, educators, authors, publishers, and booksellers who support our shared mission to promote the love of literature throughout Lone Star State. The Texas Center for the Book is under the direction of the Texas State Library and Archives Commission at the Lorenzo De Zavala State Archives and Library Building in Austin.

The Texas State Library and Archives Commission empowers Texans to access the information they need to be informed and productive citizens by preserving Texas archives; improving the service capacity of public, university and school libraries; assist public bodies in keeping their files; and meet the reading needs of Texans with disabilities. For more information, visit

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Ranking Board Book Adaptations of PRIDE & PREJUDICE Wed, 17 Nov 2021 11:46:32 +0000 This content contains affiliate links. When you buy through these links, we may earn an affiliate commission.

It is a universally recognized truth that a little baby with chubby fingers must need a hardback book. Little known as the feelings or opinions of such a baby are when they first enter the world, this truth is so deeply ingrained in the minds of surrounding families that they are considered to be the rightful recipient of some or all. other volumes.

By what, of course, I mean babies love hardback books, and you, the hardback buyer, have the delightful task of choosing exactly which hardback books. You can choose an old watch, of course, maybe Good night, good night Site of the tenant farm Where Guess how much i left you a year, but why waste this chance to instill in your favorite baby a true love of the classics.

And, obviously, by classics I mean the work of the universally beloved Jane Austen who is perhaps the only author that exists, and it is clear that the work I am talking about is Pride and Prejudice, the only literary work worthy of adaptation.

The trend to adapt classic literature into a hardback format seems to have started with Jennifer Adams and her BabyLit line with her publisher, Gibbs-Smith, in 2011. She, of course, was started with Pride and prejudice: a starting point for counting, in the same way Romeo and Juliet: a starting point for counting, which was inspired by a man named William Shakespeare (?), who appears to have written several plays. An inferior art form, yes, but we have to allow even the common people to have fun.

In each of the logbooks listed below, the authors have chosen a different approach in their adaptation. Some focused on history, others used history to teach children important concepts and others, shock and horror, used history to make jokes. Jokes. Of our important literature. What total play.

To help savvy shoppers find the best Pride and Prejudice adaptation, I ranked them from least faithful to most faithful. Note that this is not necessarily a quality award, as all of these books are honorable attempts to enlighten our younger pre-readers.

As stated above, the only literary work that one needs, and therefore the only literary work that ever needs to be adapted, is Pride and Prejudice, but if the authors below have deigned to adapt another work by Austen, I have noted it in the description.

Pride and Prejudice: A Starter for Counting by Jennifer Adams and Alison Oliver

As Ms. Adams invented the form, it pains me to classify her first book as “the least faithful”, but my allegiances must rest with you, the buyer. The simplicity of this alphabet book means Ms. Adams has less room to tell our favorite story, but that same simplicity makes it ideal for our smallest children. While our precious angels, so new to this earth, might not be able to comprehend the intricacies of Austen’s brilliant prose, it won’t be long before their faces light up with joy at ideas such as ” 2 rich gentlemen “and” 4 marriage proposals. (Ms Adams also wrote Emma: an introduction to emotions and Sense & Sensibility: an introduction to opposites)

Pride and Prejudice: Comfortable Classics by Jack Wang and Holman Wang

Pride and Prejudice: Comfortable Classics by Jack Wang and Holman Wang

You might think that the parsimony of the text would have led me to classify this book as less faithful than others, but, in fact, this same parsimony of the text allows the illustrations to shine. While each page lists just one word, you’re taken to photographs of remarkably detailed felt sculptures by Elizabeth Bennet, Fitzwilliam Darcy, and more. As someone who doesn’t go to the movies often and actually only saw one movie and, of course, a really long BBC miniseries, I found the likeness of the little person felted with Matthew Macfadyen quite remarkable, bordering on miraculous. Anyone who can convey quiet desire and long suffering with a little sheep’s wool is to be commended. (The team of writers and illustrators Jack Wang and Holman Wang also produced an adaptation of Emma.)

Goodnight Mr. Darcy by Kate Coombs, illustrated by Alli Arnold

Good Night Mr. Darcy by Kate Coombs and Alli Arnold

This delicious book calls itself a parody rather than an adaptation. While I agree this isn’t a full adaptation, it’s quite calming and wishing all of our favorite characters and locations a “good night”. “Good night full of hope / good night pretty / good night beautiful eyes / and good night full of spirit.” What poetry! On our book. I mean Jane Austen’s book, of course. I’ll buy a copy every night of the week to read before bed. To imagine! Me, owning a second book.

Pride and Prejudice and Mathematics by Misti Kenison

Pride & Prejudice & Math by Misti Kenison

The description of this book spends a lot of energy bragging that it is STEAM-based, leading some of our audience to believe that it is powered in the same way as the locomotions that now ply our beautiful countryside, but it appears to be an acronym that refers to the same math that is referenced in the title! This book uses mathematical concepts to explain somewhat more in-depth concepts of the book’s plot, for example: “Mrs. Bennet had 5 daughters at home, until Lydia ran away. Now she has 4 daughters at home ”and“ Pemberley is a bigger house than Longborne. Sad truths, some, but truths all the same.

Pride and prejudice: lit for little hands

Pride and Prejudice: Lit for the Little Hands of Brooke Jorden

Now, if you take the text and illustrations at face value, well, that’s a pretty neat little adaptation! The characters receive that of Jane Austen own words talk, and that comes with an abridged version of the story for young readers. I am afraid, however, that the additional features in this book, well, they make me think. There’s a lot pulling and scramble, well, these things just aren’t done. In fact, on the very cover of the book there is a mechanism that allows the reader to push our own Elizabeth Bennett toward Mr. Darcy in something that looks like a hug! While other elements are quite charming, like a fold-out letter that lets you read Mr. Darcy’s letter to Elizabeth, and a spinning wheel that, on one side, lets you spin dancers at a ball, while that the other side lets you read more dialogue written by Austen, I just can’t support anything that encourages such lapses of decorum. Dear me.

Pride and Prejudice Storybook by Stephanie Clarkson

Pride and Prejudice: A Babylit Storybook by Stephanie Clarkson and Annabelle Tempest

Ah yes, Babylit, we meet again. They invented the format, and they mastered it. While their line of primers gives the smallest of our children a taste of the major works of literature, their line of storybooks shares our beloved stories with these young people whose attention spans have gone. extended beyond short lists of items sorted by number or color. This 30-page hardcover book has enough room to explore the intricacies of the saga, and Anabelle Tempest’s whimsical illustrations add a bit of fun, but not too much, to this pleasant story. As in other adaptations, the illustrated characters are given Jane Austen’s own words in quaint speech bubbles. It’s a worthy tale, and one that I’m sure will have dozens of moppets congregate around your knee, eager to hear this, the finest story the English language has to offer.

I hope you have found this list of logbook adaptations useful as you work to educate the bantlings in your charge. I myself was quite energized by this walk through the lower shelves of the library and was inspired to expand my own literary horizons. Maybe even tomorrow I’ll find myself a new book. After reviewing the vast options available, I chose – what else? – Sense & Sensitivity.

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