http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/161 Assistant Professor, MZU Quarters, Aizawl Wed, 29 Apr 2026 09:30:16 GMT 2026-04-29T09:30:16Z http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/426 Title: Veritas in the Portrayal of Women in Arundhati Roy’s The God of Small Things Authors: Angom, Rebecca Abstract: ‘Women’ occupied an interesting and indispensable part of Literature from time immemorial. Since writing was in the domain of ‘men’, he was at liberty to portray women from his narrow perspective endowing the women with a set of ideals as he supposes she should possess or else she is presented as wicked, a temptress or capable of anything negative. Later on, women writers began to feel that they have been misrepresented. Men were misogynists in their representation of women in literature. The paper tries to see how far Roy’s women characters in The God of Small Things come to a true representation of women in general and she is misandry or misogynist and whether the stereotype women still exist in her novel. Tue, 01 Aug 2017 00:00:00 GMT http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/426 2017-08-01T00:00:00Z http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/425 Title: Shumang Lila: Growth, Development and Reflection of the Society in its Present Form Authors: Angom, Rebecca Abstract: Shumang Lila (Courtyard play) is a very popular mode of entertainment for all sections of the Manipuri society. It is a Manipuri theatrical art form considered to have developed in the 19th and 20th century. It is believed to have originated from the ancestral worship ritual known as Lai Haraoba or pleasing the gods. The performances in this ritual earned the benefaction of the royals. It was Chandrakirti Maharaja’s time (1850-1886) that started as Phagi Lila (a form of farce) preceding the Shumang Lila. Then there was the Eshei Lila accompanied by singing and music in the background and Phampak Lila (a stage drama) which is somewhat similar to the western theatrical model. The first theatre house came into being in the early part of the twentieth century with the name Friends Dramatic Union. Many such groups came to be established and they trailed in new contemporary issues, and ideas, spreading awareness to the masses. The paper deals with the origin, growth, development and reflection of society with some of its core problems. The paper also discusses how this art form broke the domination of being accessible only to the upper caste, the elite of the society and began taking up the role of community development media taking the role of entertaining, enlightening, instructing, moralizing, critiquing and sensitizing the public on various issues relevant to the society within the cultural context and space of the Manipuris. It is a medium to spread social awareness to people through its meaningful theme and enactments which portray the sociopolitico- economic issues of the people not only in Manipur but also globally. Another aspect of Shumang Lila in its present form is the popularity of its ‘Nupi Shabis’ who actually are male actors performing female roles. This art form provides a platform and community for them. Even with the influx of mass media, and social media platforms, Shumang Lila has proved its validity to sensitize people’s thinking to promote change and propagate ideas Thu, 01 Dec 2022 00:00:00 GMT http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/425 2022-12-01T00:00:00Z http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/424 Title: Christianization and its Impact on Mizo Culture Authors: Angom, Rebecca Abstract: The Mizo consists of different sub-tribes. The various sub-tribes are differentiated by their own specific rituals, ceremonies and dialectical differences that exists between them. The differences among the Mizo sub-tribes are slowly and gradually vanishing after the acceptance of Christianity as their Religion in the early 20th century. The social life of the Mizo was controlled by their religious and cultural life in the past. Before the arrival of the British (and subsequently the Missionaries), the Mizo were having ‘nomadic habit and volatile mentality’. The way of life of the Mizo was immensely transformed by the Christian Missionaries. In 1894, two English Baptist missionaries of the Arthington Aborigines Mission, J.H. Lorrain and F.W. Savidge landed in Lushai Hills (the present Mizoram) and began their missionary works. The introduction of education and a new religion—Christianity changed their perspectives and the world view of the Mizo. In other words, a new culture, custom and tradition and identity of the Mizo developed. Though the Mizo still cherished their old cultures and traditions, much has undergone change beyond recognition. In recent times, there is a movement back to the roots. At the same time, they also agree that their culture has been blatantly influenced by Western culture in dress, food, mannerism, music and ideas. The main tradition festivals of the Mizo—Chapchar Kut, Mim Kut and Pawl Kut—of the old slowly and gradually faded away from the society after they adopted Christianity. Today, the main festival of the Mizo is Christmas even though effort has been put to revive Chapchar Kut again. In the above context, the paper analyses the influence of Christianity on the cultures, traditions and various areas of life of the Mizo by observation and analyses of materials available. Fri, 31 Jan 2020 00:00:00 GMT http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/424 2020-01-31T00:00:00Z http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/423 Title: Localization of English in Arundhati Roy’s The God of Small Things Authors: Angom, Rebecca Abstract: Literatures in English produced today do not conform anymore to the official London based language. Personal choice as well as the writer‘s own culture, traditions, ethos etc. has come to influence the way how English literature is written today. Indian English is a socio-linguistic reality and has come to be an accepted linguistic code today. It is different from Standard English since both view the world from different angles and different perspectives. Many Indian writers in English especially of more recent origin tend to move away from the rules and regulations that govern the English language. Arundhati Roy in The God of Small Things makes use of the English language in her own style such as making new compound words, phrases, sentence structure, many words mingling to suit the colloquial tongue etc. She sometimes uses the language in a childish manner to describe the children‘s world. The paper argues that Roy uses the English language in her novel The God of Small Things to the local context. Wed, 01 Jun 2016 00:00:00 GMT http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/423 2016-06-01T00:00:00Z