MMTTP 2025 - Highlights

 Date : 03/03/2025

Topic : Holistic and Multi disciplinary Education

Resource Person : Prof. Sanjay Gupta  

The session was about Holistic and multidisciplinary Education. It is essential for the overall development of individuals and the transformation of society. Holistic development includes five key aspects: physical, intellectual, spiritual, social, and emotional growth. Benjamin Bloom’s taxonomy emphasizes cognitive, affective, and psychomotor development, ensuring a balanced approach to education that integrates the mind, body, and spirit.

Multidisciplinary education allows for knowledge integration across various fields, unlike unitary disciplinary education, which focuses on a single domain. Ancient institutions like Nalanda and Takshashila exemplified this approach, contributing to India's historical status as a global knowledge hub. The National Education Policy (NEP) envisions an education system rooted in Indian ethos, fostering national pride, high-quality learning, and global citizenship.

Further more the discussion took place related Regulatory System of Higher Education. Which included UGC - University Grant Commission, NRF - National Research Foundation, HECI - Higher Education Commission of India, Regulation - NHERC - National Higher Education Regulatory Council, Accreditation - NAC - National Accreditation Council, Grant - HEGC - Higher Education Grant Council , Education - GEC - General Education Council along with NETF - National Education Technology Forum. 

Date : 04/03/2025

Topic : Indian Knowledg System 

Resource Person : Dr. Subhash Yadav

In this session the resource person has delivered very pertinent knowledge related to given topic of Indian Knowledg System. Indian civilization (Bhartiya Sabhyata) has been shaped by eternal philosophical questions that explore the nature of knowledge, tradition, and self-realization. Rooted in Sanatan Dharma and Bharatiya Parampara, Indian thought emphasizes wisdom not just as a means of power but as a tool for purification and self-discovery.

Francis Bacon’s famous phrase, "Knowledge is power," represents the Western approach, where knowledge is often used for manipulation and control. In contrast, the Indic tradition views knowledge as a path to understanding and enlightenment. This distinction is reflected in the concepts of Gyaan (wisdom) and Vidhya (education). Knowledge in India is classified into Para Vidya (self-knowledge, spiritual wisdom) and Apara Vidya (practical, professional knowledge).

India has a rich oral tradition (Vachik Parampara), particularly through Sanskrit scriptures, where knowledge has been preserved and passed down through generations. Additionally, Indian knowledge systems are divided into Lok Parampara (folk traditions) and Shastra Parampara (scriptural traditions), both of which contribute to India’s intellectual and cultural heritage.

Understanding these principles is essential for preserving India's timeless wisdom while adapting to modern challenges. By upholding these traditions, India continues to serve as a beacon of knowledge and spiritual inquiry for the world.

Date : 05/03/2025

Topic : Academic Leadership, Governance and Management

Resource Person : Dr. Jayprakash Soni

On the 5th of March, The first session was resourced by Dr. Jayprakash Soni. The speaker started has throw the light on Higher Education in Ancient india and British Rule, Growth of Higher Education in India after Independence. Then he came to the types of university and it’s institutional framework. Organizational Design, Types of HEIS, UGC, AICTE and related and state level institutions & Inter- Relationships, Quality framework : Academic standard settings, Accreditations : NAAC, NBA, Ranking Framework : NIRF, Q&S, THE, SHANGHAI,World Class Universities etc very important information was given with the vast understanding of these points. 

On the same day the second session was conducted by Mitesh Jyaswal sir on the Governance and Management. Where he started his talk with the Anecdote and an Interaction with boys in train from his own experience and slowly he has highlighted the parts like Outcome Mapping with the questions like, What is it? Why do it? How is outcome mapping is different from curriculum mapping? Further more he Explain the very interesting point of Online and Digital Education : Ensuring Equitable Use of Technology. He introduced some good points under the topic of Infrastructure like,

• Quality Learning Environment

• Technological Advancements

• Research Facilities

• Library Resources

• Student Accommodation

• Recreational and Sports Facilities

• Accessibility and Inclusivity

• Collaborative Spaces

• Global Competitiveness

• Industry Engagement

Afterwards, there was a great experience of Virtual Tour of IIMA. 

Date : 06/03/2025

Topic : Higher Education and Society

Resource Person : Prof. Renu Nanda

In the session of Prof. Renu Nanda, The topic Higher Education and Society took place from the very gound to the uprising aspects. She was very capably introduce her topic with the authentic and inspirational quotes. The session had most parts of case studies and from her lived experiences as a academic journey. Session covered the points like multi disciplinary, NEP, Pedagogy and Methodology, Communication skills etc. Very interestingly she has thrown her knowledge on  Higher Education System and It’s Role. 

Higher education plays a crucial role in shaping society by encouraging intellectual growth, innovation, and social progress. It equips individuals with critical thinking skills, professional expertise, and ethical values, enabling them to contribute meaningfully to economic and cultural development. A well-educated society promotes inclusivity, democratic values, and scientific advancements. In India, higher education institutions bridge ancient wisdom with modern disciplines, ensuring holistic learning. Policies like the National Education Policy (NEP) aim to make education more accessible, multidisciplinary, and globally competitive. Strengthening higher education is essential for nation-building, global leadership, and creating a knowledgeable and responsible society.

Date : 07/03/2025

Topic : Skill Development, Research and Development  

Resource Person : Prof. Karanam Pushpanadham, Dr. Rameshchandra G. Kothari

The first session was by Prof. Karanam Pushpanadham on Skill Development. Skills-based education as a learning model , where the focus points were practical abilities, critical thinking, and problem-solving skills. Higher Education in India and Skill Development in India discussed by the speaker. There are three types : 1. Over-education, 2. Skill mismatch in technical education, 3. Quality Skill gap. 

Further more he put very pertinent questions based on the topic like, 

Weather our graduates are ready for Employability?

How Relevant Are Current Curricula to Industry Needs?

What is the Role of Faculty in Skill Development?

How Can Industry-Academia Collaboration Be Strengthened?

Are Skill Development Programs Accessible to All Students?

How Can Soft Skills Be Effectively Integrated into the Curriculum?

How Can Technology and Digital Tools Be Leveraged for Skill?

Key Components of Skills-Based Education : 

Practical Learning, Industry-Relevant Skills, Flexibility, Collaboration with Industry. Parameters of ‘One Nation One Standard’, Skill India Mission, Pradhan Mantri Kaushal Vikas Yojana, Skill India Digital Hub, Skill Development Programmes for Rural Areas, Industry-Academia Collaboration, Challenges in Skill Development Programmes etc points were there to enlarge the sense of Skill Based Education and it’s various aspects.

The second session was by Dr. Rameshchandra G. Kothari on the topic of Research and Development. Where the speaker enlightened the session by his expertise on research and it’s different parts and tools. Research and Development (R&D) is a fundamental pillar of progress, driving innovation, economic growth, and societal advancement. It involves systematic investigation and experimentation to expand knowledge, improve existing technologies, and develop new solutions. R&D plays a critical role in industries such as healthcare, engineering, agriculture, and information technology, shaping the future through scientific discoveries and technological breakthroughs.

Date : 10/03/2025

Topic :  Skill Development in Higher Education

Resource Person : Prof. (Dr.) Pawan Kumar Maurya 

On the 10th March, the first session was by Prof. Pawan Kumar Maurya. Where he started the lecture with National Education Policy 2020 and Its Influence on Skill Development, Discussed some governmental projects related to Skill India, Explained the how Skills is made of three components : Competitiveness, Productivity, Economy. What is Skill Development? Skilling, Reskilling amd Upskilling. Why Skill Development? Then Skill Development & Entrepreneurship in india, Skill Development Phases, Objectives of Skill development Like, 1. Identify new Sectors, 2. Provide training & skill development, 3. Develop under-developed sectors, 4. Create opportunities, space & scope. 

Further more there is a point of The Urgency of Skilling, Need for skill India Initiative, then there was a own experiment of the course of B.Voc., Alignment with Sector Skill Council for assessment and certification of the students, Padhan Mantri Kaushal Vikas Yojana, Govt Bodies working for Skill Development & Entrepreneurship, Budget of 2022-23, Sector Skill Councils (SSC), and he conclude the session with the very pertinent question , Life Skill to Achieve Sustainable Development Goals What is Life Skills? 

Second session : Dr. Kothari

A thorough review of studies should be conducted at least three times during the research process to ensure comprehensiveness. The literature review must be structured into clusters, maintaining consistency in study length and proper citation of authors. Reviewing 80 studies should address key questions: What has been done? How? Which areas correlate? Where? When was the research conducted? Identifying research gaps is crucial for future exploration. Methodology and methods should be clearly defined, ensuring precise data transmission and minimizing inconsistencies for a well-founded research report.

Apart from this the speaker also put his insights with his own experience and case studies. 

Date : 11/03/2025

Topic : TEACHER COMPETENCIES TOWARDS DIVERSITY & INCLUSION

Resource Person : Dipti Oza 

On the 11th of March, The resource person Dipti Oza started her session with the Qualities of A Teacher as Guidance Personal. In that she discussed the major qualities like Unconditioned genuine support and warmth, He/She Should be gender, caste, religion and age free, Composed, Empathetic, Approachable, Confidential, Guidance minded, Mentor - nurtured relationship, No inquisitiveness to know problem or personal details. 

Further she mentioned the Psychological Journey step by step and focused on how conscious Experiences at every stage is essential to ensure the change in behaviour. Apart from that she has provided the great possible unique way to understand the diversity by food and it’s diversity. 

Second session by Prof. Sujata Srivastava 

Topic : 1. Understanding Diversity And Linking It To Inclusion

2. Developing Learner Centric Practices, Skills And Support System

Started with the major definition :

What is Student Diversity?

“race, ethnicity, gender, sexual orientation, language, culture, religion, immigration status”. 

Who are the Socio-Economically Disadvantaged Groups? 

SEDGs - Based on (NEP 2020)

Gender Identities - particularly female & Transgender individuals

Socio-cultural identities - Scheduled Castes, Scheduled Tribes, OBCs & Minorities.

Geographical Identities - Children from villages

Scheduled Castes : 16.5%

Scheduled Tribes : 8. 08%

Other Backward Classes : 41%

Minorities : 19.3%

PWDs 2.21% (census, 2011)

Facets of Exclusion 

Lack of Awareness about HE opportunities, Opportunity Costs & Financial Constraints, Admission Processes, Geographical & Language.

Strategies for Enhancing Inclusion- NEP, 2020

Date : 12/03/2025

Topic : Emerging AI Tools for Education and 

Research Efficiency 

Resource Person : Amit Gautam

AI tools for literature review Data collection

Research rabbit 

Scholarcy 

Reference management tool

Zotero

Book Review - Gunahon Ka Devta

Gunahon Ka Devta (novel)

The book i completed in a single day for the first time in Hindi language. Hindi Sahitya is a feeling of a warm hug for me. Reading English fictions is not that much difficult than understand Hindi language and Hindi Sahitya. There is a feeling of homeliness while reading. Perhaps, one can be the reason that we know the places and it's culture, geography, people, food, rituals and social backgrounds. When we read something what we know these things about then on next level we expect the reality of all layers into deepest sense from the authors within the highest level of fictionalism.

Dharamvir Bharati is the one of them to whom we can call great writers in Hindi Sahitya. The Author of the novel 'Gunahon Ka Devta'. This book is not one those books that you can experience it by reading reviews and watching adaptations. If you want to experience it you must dive into the ocean of the pages which are penned by Bharati himself.

Firstly, I must mention here the paradox which was in my situation when i was reading a novel by Amish Tripathi, Sita : Warrior of Mithila, i suddenly got an inspiration to read the novel Gunahon Ka Devta. I stopped and got a whole day to read that novel and back in my mind there was a constant conflict between Amish's Sita and Bharati's Sudha. It is the advantage of reading and watching the adaptation that you can imagine characters together and switching the authors we can create a new world of our own. By end of the reading i reached at the point where i found that Bharati's Sudha is not meek and weak but she is as strong as Amish's Sita. Both women characters are portrayed so deeply and detailed with their own world, either Ram or Chander, at last women in their lives makes them on the highest form of humans. which is near to Godliness or God!

Coming to the novel 'Gunahon Ka Devta', There are main four characters like, Chander, Sudha, Pammi and Binti, also i should count the character of Sudha's father Dr. Shukla. Allahabad is the place where the story took it's place with the very ordinary lives of these characters. Chander is an young man who is doing research and his guiding light in academia is Dr. Shukla, Who is Sudha's father. Binti is Sudha's cousin sister and Pammi is a friend of Chander.

By summarizing such novels, one commits a murder. So i won't summarize it so properly but will give the outline of the story. Cause i don't want make it soulless.

Story gets start with a description of the 'Allahabad' and 'Prem' so artistically. It feels like the scene is talking to the readers itself. Chander enter in the story with the conversation with Thakur Saheb about research, politic studies, economic studies and philosophy. Bisariya, who is a poet who write poetries according to situations. Sometimes for 'love' and sometimes for 'nation'. The story goes further with the entry scene of Sudha who comes by the car and Chander approach her to the library. The bond between Sudha and Chander is a very close, witty and spiritually connected. platonic!

It becomes so usual for him to visit Dr. Shukla's home, to do his all given works and some help to household, being a trusted person of Dr. Shukla, Chander slowly became the part of the life of Sudha. Sudha is not a girl who totally fits into the given ideal frame of daughterhood or womanhood. She is one who stands and ambitious with all her heart without being under the pressure of any kind of force. I can say she is the representative of each woman who is in non expressive love.

Chander and Sudha, Both were in love with each other. They shared the deepest part of themselves into each other. To fulfill Dr.Shukla's wish Sudha gets married to Kailash. Where she is not happy at all. She went to Kailash's home but later on she got an abortion and died in the end of the novel. Here Chander Lived with so many phrases and in the end he found that He truly in love with Sudha.

By them or by the help of their love story Bharti tried to put us in the realm of conflicts as an ordinary human beings we face in our lives. The character of Chander is more expanded to explore the realities of society, the layers humans carry to hide some real and unknown feelings, the suppressions we lead to some horrific circumstances, to understand the core meaning of life and philosophy, the lenses we use to look at the aspects like sex, love, and relationship. Sudha's character is more great on basis of how she is making Chander a great human being by Chander's point of view. The Character lives in the story in the form of the strong spiritual factor of someone's life.

Chander and Pammi

Chander and Pammi has shared a bond where intentionally we can see that by that bond Chander dive into the conflict of physical needs and it roles in human life. It helps story to portray many aspects of womanhood in many senses like, what are the general and naturalized points society think about women, how her personal life is being in the center to justify the all woman in the world.

Chander and Binti

Binti is an another woman who is connected to Chander thorough Sudha. She comes in the light with her own struggle as her mother never treats her well. She comes to the home of her maternal uncle and started to study there only. She witnessed the whole journey and love story of Sudha and Chander. The bond between Chander and Binti is so effortless cause it got shaped more when Sudha gets married and Chander takes care of Binti and Binti rewards that too by taking care of him. By the time, When Chander is not able to being his real self at that time Binti reminds him to be the real Chander. There are many incidents of their which help the narrative to justify the core ideas about the conflicts and confusions Chander is facing during the timeline.

Chander and Gesu

Gesu is a friend of Sudha. Chander and Gesu does not usually being in the scene together. But at last, When Gesu comes to the Shukla's house and find Chander, at that time there a conversation between them. Which tells that, How some parts of our people we carry with us. And she tells to Chander that the part of Sudha is saying to you. The tiny parts playing a major role here to put a very important part in the novel.

The novel is a very magnificent moment to understand the extra-ordinary human world by the ordinary medium. Very often, Sudha and Binti is addressing Devta to Chander. And Chander thinks at last that how he has committed Gunah during all this happenings in his life. He thought he has done wrong to Sudha, Pammi and Binti. So by that this title becomes apt for this story that is 'Gunahon Ka Devta'.

Paper : Echoes of the Collective Unconscious: Jungian Insights into Characters in 'The Lanka's Princess

Name : Emisha Ravani

Designation : Research scholar at Central University of Gujrat

Contact mail: emisharavani3459@gmail.com

Title of the paper : Echoes of the Collective Unconscious: Jungian Insights into Characters in 'The Lanka's Princess

Abstract: This study delves into the character of Surpanakha as portrayed by Kavita Kane, employing Jungian theory as a critical lens. By examining the storyline and characters through this perspective, the research aims to uncover novel insights into the reinterpretation of mythology by Kane. It explores the dynamics of the Ego (conscious), personal unconscious, and collective unconscious within the human psyche. While we typically acknowledge only our conscious mind, the personal and collective unconscious realms remain largely hidden, influencing our behaviour and actions. Mythology, transcending cultural boundaries, is shaped by universal archetypes inherited in human genes, manifesting in our collective unconscious. Surpanakha's journey is characterised by a relentless pursuit of revenge born from her enduring suffering and mistreatment, illustrating the profound impact of the collective unconscious on the individual psyche.

Key words : Lanka’s Princess, Kavita Kane, Jungian theory, archetype, Surpanakha

Introduction :

Myths permeate every corner of global culture, serving as narratives to elucidate natural occurrences, elucidate origins, and delineate the progression of civilizations. At their core, myths provide solace by imbuing a sense of structure and significance into an otherwise tumultuous existence. Retelling of myths is an act of telling the stories which are already told to people before. But the aim is to make the stories available with all kinds of connection like socio cultural, political. Contemporary writers are successfully penning retelling mythology. This paper contains a archetypal way to look at the book Lanka’s Princess by Kavita Kane and try to drag attention to her unique style and minute observations too.

“If readers already come to the table knowing who a character is or how a plot goes, you can use that to twist their expectations.”

Annie Sullivan

About Author :

Kavita Kane, renowned for her six bestselling novels, has emerged as a revolutionary figure in Indian literature, particularly for her groundbreaking incorporation of feminism into mythology. Through her eight novels, she explores the narratives of lesser-known women in Indian mythology, including "Karna’s Wife" (2013), "Sita’s Sister" (2014), "Menaka’s Choice" (2015), "Lanka’s Princess" (2016), "The Fisher Queen’s Dynasty" (2017), "Ahalya’s Awakening" (2019), and her latest work, "Sarasvati’s Gift", “Tara’s Truce” (2023).

Lanka’s Princess :

Here, In this attempt of her. Kane tried to gave many new shades to the character of Surpanakha. But she did not allow her character draft to be so imbalance and flawless. She portrayed Surpanakha by becoming her. By the whole reading we come to know as readers that many times Kane herself wearing the shoe of Surpanakha to draw her each moment of pains and pleasures.

Kane is using very unique style of giving titles. As she chose to deal with a single character mostly a female one, she tries to keep readers on thinking mode from title to the end itself. Her stance to give such a tones modernity and sexuality in the story to a character is so real. She never fails to make the character uprooted by making it well rooted as a writer. The writers who are doing retelling of the mythology are more alert with their responsibilities. Because the domain of mythology is a almost public and known one. So common people already know your story but you need to make it more mysterious and meaningful to the present time and the known audiences. Kane also well balanced the act of humanising Surpanakha by giving her exact touch of human emotions and demons instincts.

A soul revolves around revenge and rejection :

‘A shift from Minakshi to Surpanakha'

The prologue titled as ‘Kubja’. Kubja means A hunchback. Kane introduce us to the character in the prologue and using the main factor of her appearance. There is a beautiful conversation between Kubja and Krishna where we feel that she is taking us to the world of Surpanakha.

She stared at him transfixed, speechless. ‘You were born a beautiful princess Minakshi, the sister of the asura king Ravan, but your wickedness turned you into a monster - Surpanakha, the woman as hard as nails…’ he explained. ‘Do you remembered me? The man who rejected you and in your wrath you took a terrible revenge on me, my wife Sita and my rother Lakshmn…?’

‘What did i do so terrible then that i had to leaf this life in misery?’ cried Kubja. terrified.

Krishna smiled, taking her trembling hand in his. Kubja felt a strange sense of fulfilment.

‘Well, allow me to tell your story..’(Kané)

The chapters are classified based on the names of places, names of characters, ‘eternal bhav’, and events. Each chapter deals with particular turn of her life. Each contains the same importance. The epilogue titled as ‘Phulwati’. Where she left as rejection in the end too like Kubja and Surpanakha. Kane makes her so successfully, a warrior who fought in every birth against revenge and rejection. And the one who will have to remain a one sided lover and suffered soul.

A character in a liminal space

Surpanakha, the one who shares a liminal space in the story. We see that she in the constant space where she get herself in the inner world and the outer world. A constant battle of complications and personal feelings and emotions. She is seen as she always prefer to choose herself and her own instincts over anything happens in her life. Though there are many events and people who tried to make her feel confused about her decisions. Also she belongs to the linage of asura. But the shift from asura to making her more human is a completely justified. We do not feel that Kane just stuck to proving her in the box of good and bad but she did a successful amalgamation of both tones.

How the myth has look at the main turn of her life. From the pen of Valmiki :

अस्य रूपस्य ते युक्ता भार्याहं वरवर्णिनी।

मया सह सुखं सर्वान्दण्डकान्विचरिष्यसि।।3.18.7।।

एवमुक्तस्तु सौमित्री राक्षस्या वाक्यकोविदः।

ततश्शूर्पणखीं स्मित्वा लक्ष्मणो युक्तमब्रवीत्।।3.18.8।।

कथं दासस्य मे दासी भार्या भवितुमिच्छसि।

सोऽहमार्येण परवान्भ्रात्रा कमलवर्णिनि।।3.18.9।।

With my fine complexion, I will be a suitable wife for you. You can happily wander about in Dandaka forest with me. Thus addressed by the demoness Lakshmana, son of Sumitra, well versed in the use of words gave her a befitting reply : O lotus complexioned woman , how can you act as a maid to a slave ? Why do you intend to be so? I am already dependent on my revered brother.

By the Pen of Kane :

He was saying, 'I could not bring her as I am my brother's servant, at his service all the while. And that is the same reason, I cannot be yours, lady,' he said stiffly, glaring not at her but his brother, a Accused of manipulating events between Ram and Ravan, which culminated into a bloody war and annihilation of her family, Kavita Kané's Lanka's Princess makes us see the familiar events unfold through the eyes of a woman more hated than hateful…disapproving frown on his handsome face.

They are rejecting me! But why, she thought wildly. I am young and beautiful and desirable. Why did they not like me? Am I not enticing enough?

Lakshman's brow suddenly cleared, and said gently, 'I am but a slave. Do you wish to be a slave's slave or the master's? You deserve someone better, madam, and that person is Ram as you had rightly chosen before!' After a pause, he said teasingly, 'He is trying to fool you. You can be his second wife! Go to him, is he not better looking than me? He will make a better husband too, dear lady.’(Kané)

We can see that How Kane make the difference of revisioning and reimagining of the events from the Valmiki has done before. And in between she put Surpanakha’s inner feeling and thoughts on going in her mind. As it is mention on the cover page of book itself.

Accused of manipulating events between Ram and Ravan, which culminated into a bloody war and annihilation of her family, Kavita Kané's Lanka's Princess makes us see the familiar events unfold through the eyes of a woman more hated than hateful…

Jungian Theory

What is Collective Unconsciousness?

The concept of the collective unconscious, coined by psychiatrist Carl Jung, refers to a shared aspect of the unconscious mind present in all human beings. This collective unconscious originates from the inherent structure of the brain and is separate from the personal unconscious, which is shaped by individual experiences. Within the collective unconscious, Jung posited the existence of archetypes—fundamental, universal images and ideas that are innate to human consciousness.

Archetypes are intrinsic and universal templates of human personas, behaviours, and traits that exert influence on human actions. Carl Jung, the Swiss psychiatrist, proposed that these archetypes stem from ancient, innate human wisdom transmitted through generations. Within Jungian psychology, these archetypes symbolise enduring patterns and symbols ingrained in the collective unconscious. Jung suggested that we inherit these archetypes akin to instinctual behavioural patterns.

Jung's conception of the human psyche consisted of three main elements:

The ego (Conscius)

The personal unconscious

The collective unconscious

The main archetypes :

The Persona

The Shadow

The Anima or Animus

The Self

Surpanakha as anima

Surpanakha's character may represent the anima archetype as she embodies qualities traditionally associated with femininity. This could include traits such as emotional sensitivity, intuition, and a connection to nature. Throughout the narrative, Surpanakha's actions and interactions could reflect these qualities, providing depth to her character. The anima archetype often symbolizes the longing for connection and wholeness. Surpanakha's pursuit of romantic relationships, particularly her attraction to Rama and subsequent jealousy toward Sita, could be seen as manifestations of this desire for connection. Her yearning for love and belonging drives much of her behavior in the story. Surpanakha's journey could involve confronting inner conflicts and integrating different aspects of herself, including her anima traits. As she grapples with her desires, insecurities, and the consequences of her actions, Surpanakha may undergo a process of self-discovery and growth. This could involve embracing her feminine essence while also acknowledging and reconciling with her shadow aspects. Surpanakha's relationships with other characters, particularly Ravana and her brothers, could reflect aspects of the anima archetype. Her interactions with Ravana, for example, may highlight themes of power dynamics, desire, and emotional vulnerability. Her bond with her brothers could represent familial ties and the need for support and protection. By viewing Surpanakha through the lens of the anima archetype, readers can gain a deeper understanding of her character and the psychological dynamics at play in "The Lanka's Princess." This interpretation adds layers of complexity to her motivations, relationships, and personal journey throughout the narrative.

Ravana as animus

Ravana, as the powerful ruler of Lanka, exhibits traits commonly associated with the animus archetype, such as dominance, assertiveness, and aggression. His actions and decisions are often driven by a desire for power and control over others, reflecting a strong manifestation of masculine energy. Ravana is portrayed as a highly intelligent and strategic thinker, relying on his intellect and rationality to achieve his goals. This characteristic aligns with the animus archetype, which is often associated with logical reasoning and problem-solving skills. Despite his formidable exterior, Ravana's character may also harbour internal conflicts and complexities, reflecting the nuanced nature of the animus archetype. He may struggle with aspects of his own masculinity, such as vulnerability or emotional turmoil, which surface in his interactions with other characters. Ravana's dynamic with Sita, the protagonist, can be viewed through the lens of the animus archetype. His kidnapping of Sita and subsequent attempts to sway her allegiance can symbolize a confrontation between masculine and feminine energies. Ravana's relentless pursuit of Sita may stem from a desire to possess and control her, representing an imbalance in his animus. Throughout the narrative, Ravana's character arc may involve a journey of self-discovery and integration of his animus. This could manifest as moments of introspection and self-awareness, where he confronts his own flaws and insecurities, ultimately leading to personal growth and transformation.

Conclusion :

As we see a text or work can be sen by many perspectives and theories can applied successfully. People have seen this character and book by the lens of feminism, Androcentrism, Women Identity And Self-Assertion, humanise the demonic character etc. Here a researcher tried to see such characters by using archetype by Carl Jung. Where we can see major two characters that is, Surpanakha and Ravana. A story has protagonist a Surpanakha and antagonist Ravana.

“We need to interpret interpretation more than to interpret things.” - Montaigne

It is a high time to revisioning and reimaging such stories and character from myths. As time changes and it become the main reason to have new perspectives and new voices to be raised. Only things are worthy when it gets change according to it’s requirements. If we do not have such courage to look at the things in new ways. One can say it is totally regressive process itself.

Works Cited

YouTube: Home, 3 June 2009, https://www.valmiki.iitk.ac.in/sloka?field_kanda_tid=3&language=dv&field_sarga_value=18. Accessed 15 March 2024.

Cherry, Kendra. “12 Archetypes: Definition, Theory, and Types.” Verywell Mind, 11 March 2023, https://www.verywellmind.com/what-are-jungs-4-major-archetypes-2795439#toc-the-main-archetypes. Accessed 15 March 2024.

“Collective unconscious | Definition & Facts.” Britannica, 20 February 2024, https://www.britannica.com/science/collective-unconscious. Accessed 15 March 2024.

“A DECONSTRUCTIVE READING TO STRUCTURE, SIGN AND PLAY BY DERRIDA.” Academia.edu, https://www.academia.edu/33430749/A_DECONSTRUCTIVE_READING_TO_STRUCTURE_SIGN_AND_PLAY_BY_DERRIDA. Accessed 15 March 2024.

Kane, Kavita. “Kavita Kane - Penguin Random House India.” Penguin India, https://www.penguin.co.in/book_author/kavita-kane/. Accessed 14 March 2024.

Kané, Kavita. Lanka's Princess. Rupa, 2017.

Palat, Lakshana, and Kavita Kané. “Lanka's Princess: A book that attempts to humanise the demonic Surpanakha.” Hindustan Times, 16 February 2017, https://www.hindustantimes.com/books/lanka-s-princess-a-book-that-attempts-to-humanise-the-demonic-surpanakha/story-dZTll4MOtz1WZtPV57PR3O.html. Accessed 15 March 2024.

“Subverting Androcentrism and Voicing the Silenced in Kavita Kane's The Lanka's Princess.” Redalyc, https://www.redalyc.org/journal/7038/703873514012/html/. Accessed 15 March 2024.

rooh

Rooh by Manav Kaul