PK
f-] _rels/PK
f-] docProps/PK
f-] ppt/PK
f-]
ppt/_rels/PK
f-] ppt/charts/PK
f-] ppt/charts/_rels/PK
f-] ppt/embeddings/PK
f-]
ppt/media/PK
f-] ppt/slideLayouts/PK
f-] ppt/slideLayouts/_rels/PK
f-] ppt/slideMasters/PK
f-] ppt/slideMasters/_rels/PK
f-] ppt/slides/PK
f-] ppt/slides/_rels/PK
f-]
ppt/theme/PK
f-] ppt/notesMasters/PK
f-] ppt/notesMasters/_rels/PK
f-] ppt/notesSlides/PK
f-] ppt/notesSlides/_rels/PK
f-]"˩ [Content_Types].xml
PK
f-]] ] _rels/.rels
PK
f-] docProps/app.xml
0
0
Microsoft Office PowerPoint
On-screen Show (16:9)
0
12
12
0
0
false
Fonts Used
2
Theme
1
Slide Titles
12
Arial
Calibri
Office Theme
Slide 1Slide 2Slide 3Slide 4Slide 5Slide 6Slide 7Slide 8Slide 9Slide 10Slide 11Slide 12
PptxGenJS
false
false
false
16.0000
PK
f-], docProps/core.xml
PptxGenJS Presentation
PptxGenJS Presentation
PptxGenJS
PptxGenJS
1
2026-09-13T12:54:40Z
2026-09-13T12:54:40Z
PK
f-]*
*
ppt/_rels/presentation.xml.rels
PK
f-]Oݨ ppt/theme/theme1.xmlPK
f-] ppt/presentation.xml
PK
f-]X ppt/presProps.xml
PK
f-] ppt/tableStyles.xml
PK
f-]D
>0 0 ppt/viewProps.xml
PK
f-]H7t ! ppt/slideLayouts/slideLayout1.xml
PK
f-]ђ7 7 , ppt/slideLayouts/_rels/slideLayout1.xml.rels
PK
f-]G1W@ @ ppt/slides/slide1.xml
MA ENGLISH · SEMESTER 3 · WORLD FICTION PAPERIntroducing Salman Rushdie's ShameReading a Novel Through Two Ideas of “World Fiction”Dr. Krisha DasHandique Girls' CollegePK
f-]3 ppt/slides/_rels/slide1.xml.rels
PK
f-]. ppt/notesSlides/notesSlide1.xml
1PK
f-]:A * ppt/notesSlides/_rels/notesSlide1.xml.rels
PK
f-]v' ' ppt/slides/slide2.xml
What Do We Mean by “World Fiction”? A common (and too simple) assumption:“World Fiction” just means English Literature plus a few names from outside Britain and America.World Fiction really asks two deeper questions:1. HOW is the story built? — its narrator, its structure, its craft2. WHAT togetherness does it imagine? — its families, nations, communitiesRushdie's Shame gives us rich material to explore both.Shame — Introductory Session2PK
f-]]X X ppt/slides/_rels/slide2.xml.rels
PK
f-] ppt/notesSlides/notesSlide2.xml
2PK
f-]xշ * ppt/notesSlides/_rels/notesSlide2.xml.rels
PK
f-]pF1 1 ppt/slides/slide3.xml
Two Thinkers, Two Lenses Frederick Luis AldamaAnalyzing World FictionLooks at HOW a story is told: the narrator, the structure, the technique.“Reads the craft” J. Hillis MillerCommunities in FictionLooks at WHAT community a story imagines: family, nation, belonging.“Reads the people”We will use both lenses to read Shame today.Shame — Introductory Session3PK
f-]2kv ppt/slides/_rels/slide3.xml.rels
PK
f-]K|Ő ppt/notesSlides/notesSlide3.xml
3PK
f-]9Y * ppt/notesSlides/_rels/notesSlide3.xml.rels
PK
f-]w~n: : ppt/slides/slide4.xml
Lens 1: Reading the Craft (Aldama)1Don't just read fiction as “evidence”A novel is not simply a report on a culture or history — it is a made thing.2Ask: who tells the story, and how?Notice the narrator's voice, and every place the story pauses or turns.3Watch for digression, unreliable narration, allegoryThese are deliberate choices — not accidents — that shape what we feel and believe.4These techniques work everywhereThe same close attention we give an English novel, we give a Pakistani or Indian one.Shame — Introductory Session4PK
f-]\X X ppt/slides/_rels/slide4.xml.rels
PK
f-]vs ppt/notesSlides/notesSlide4.xml
4PK
f-]J * ppt/notesSlides/_rels/notesSlide4.xml.rels
PK
f-]Hh: : ppt/slides/slide5.xml
Lens 2: Reading the Community (Miller)1Fiction tests whether “community” is possibleEvery novel imagines some group — a family, a village, a nation — and asks if it can hold together.2Rarely one big happy familyCommunities in fiction are messier than we expect — full of gaps, rivalries, silences.3Held together by tension, not just harmonyThe very conflict that threatens a group can also be what keeps it together.4Miller's word for this: “agonistic”More on this important word on the next slide.Shame — Introductory Session5PK
f-]
s X X ppt/slides/_rels/slide5.xml.rels
PK
f-]W8 ppt/notesSlides/notesSlide5.xml
5PK
f-]Q e * ppt/notesSlides/_rels/notesSlide5.xml.rels
PK
f-]ND+ D+ ppt/slides/slide6.xml
What Is an “Agonistic Community”?AGONISTIC — from the Greek agon, meaning contest or struggleA group held together BY its tensions and conflicts — not in spite of them.The usual idea of communityShared belief, harmony, one big family — everyone united and alike.Miller's agonistic communityRivalry, difference, and conflict that never fully goes away — each member stays distinct, refusing to melt into one whole.Shame — Introductory Session6PK
f-].X X ppt/slides/_rels/slide6.xml.rels
PK
f-]z ppt/notesSlides/notesSlide6.xml
6PK
f-]=| * ppt/notesSlides/_rels/notesSlide6.xml.rels
PK
f-], . . ppt/slides/slide7.xml
Meet the Novel: Shame (1983)Rushdie's third novelPublished in 1983, written in the style of magic realism.Set in a country “not quite Pakistan”A fictional country that sits almost, but not exactly, in the same place as the real one.Two rival familiesGeneral Raza Hyder and Iskander Harappa — loosely echoing real Pakistani leaders Zia-ul-Haq and Bhutto.A story about shame and violenceShame that is buried or denied, the novel suggests, eventually explodes into violence.Shame — Introductory Session7PK
f-]UOX X ppt/slides/_rels/slide7.xml.rels
PK
f-])l ppt/notesSlides/notesSlide7.xml
7PK
f-]|g * ppt/notesSlides/_rels/notesSlide7.xml.rels
PK
f-]xc) ) ppt/slides/slide8.xml
The Narrator's ConfessionPart One, Chapter 1“The country in this story is not Pakistan, or not quite” — the narrator openly tells us so, early in the novel.Two countries — the real and the fictional — sit almost in the same space.This gap he calls a “slight angle to reality” — a deliberate choice, not a mistake.This angle lets him say things that a strictly factual account could not have said.This is Aldama's lens in action: a technique that quietly shapes meaning.Shame — Introductory Session8PK
f-]WsX X ppt/slides/_rels/slide8.xml.rels
PK
f-]iސ ppt/notesSlides/notesSlide8.xml
8PK
f-]pO * ppt/notesSlides/_rels/notesSlide8.xml.rels
PK
f-]/%* * ppt/slides/slide9.xml
The Birth of Sufiya ZinobiaPart Two, Chapter 5 — “The Wrong Miracle”A daughter, not the sonBilquis and Raza Hyder desperately wanted a son; a daughter arrives instead.A blush she cannot controlFrom birth, Sufiya blushes uncontrollably — carrying a shame that is not only her own.A symbol for the nationShe comes to embody the shame the powerful refuse to feel — until it erupts as violence.Shame — Introductory Session9PK
f-]їEX X ppt/slides/_rels/slide9.xml.rels
PK
f-]q ppt/notesSlides/notesSlide9.xml
9PK
f-]1 * ppt/notesSlides/_rels/notesSlide9.xml.rels
PK
f-]ؔ:. . ppt/slides/slide10.xml
Putting It Together: Shame's Agonistic Nation1The nation in Shame is not held together by unity or shared belief.2It survives through rivalry (Harappa vs. Hyder), dictatorship, and buried Partition violence.3Even the family — three mothers raising one son in secrecy — is bound by tension, not only love.4Sufiya's eruption is the whole order's hidden tension finally becoming impossible to contain.Shame — Introductory Session10PK
f-]gZ Z ! ppt/slides/_rels/slide10.xml.rels
PK
f-]O ppt/notesSlides/notesSlide10.xml
10PK
f-]T + ppt/notesSlides/_rels/notesSlide10.xml.rels
PK
f-]FR>4 >4 ppt/slides/slide11.xml
What We Will Do in the Coming Sessions1Track the narrator's interruptionsUsing Aldama: find each digression and ask what work it does.2Map the novel's fractured communitiesUsing Miller: trace the nation, the family, and their tensions.3Question the category itselfAsk what “World Fiction” means for a novel this hybrid in form and setting.Shame — Introductory Session11PK
f-]