Paper- 9 Vision in 'To the Lighthouse'

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Prepared by    : Komal Shahedapuri

Roll No             : 14

Paper – 9         : Modernist Literature

M.A (English) :  Sem -3

Enrollment No: 2069108420170027

Batch                  :  2016-18

Email                 :   komaltara1311@gmail.com

Submitted to   :  Smt .S. B Gardi, Department of  English,                                                                                               MK Bhavnagar University.

Topic: Vision in to the ‘To the Lighthouse’

Abstract

          Virginia Woolf, one of the prominent representatives of modernist novelist in England, has contributed significantly to the development of modern novel in both theory and practice. She abandoned traditional fictional devices and formulated her own distinctive techniques. The novels of Woolf tend to be less concerned with outward reality than with the inner life. She also takes the readers to the high glory of perception thinking. Virginia Woolf’s experience of the social, the solitary, and the visionary of human experience is revealed in both her group expression and individual expression. Best example is her masterpiece ‘To the Lighthouse’, it gives the picture of the inner self and process of the mind of all the characters through the Stream of Consciousness technique and interior monologue. Vision is main focus in this novel which defers from one character to another. This paper is try to show what is the vision of different characters towards life and human relationships.  

Key Words: Vision, Virginia Woolf, To the Lighthouse, Lily Briscoe, Mrs. Ramsay

      Virginia Woolf’s To the Lighthouse” is divided into three parts, first is ‘The Window’, second is 
‘The Time Passes’ and third one is ‘The Lighthouse’. Woolf’s vision of reality postulated both a world of time-flux and a universal harmony outside of flux. Her purpose as an artist was to communicate in the unity and flow of character and symbol this double aspect of reality which combined to form the common life. Lily’s vision of life itself has been surrounded by fluid impressions and personalities. All the fluidity of impressions, of human personalities, of things, which have touched Lily have been struck into stability by that unity which is the singleness of her reality vision. (Hameed) 

       It is good to see that Virginia Woolf attracted towards the art and that is observed, According to Virginia Woolf, "Painting and writing... have much in common. The novelist after all wants to make us see. It is a very complex business, the mixing and marrying of words that goes on, probably unconsciously, in the poet's mind to feed the reader's eye. All great writers are great colorists...." While "sound and sight seem to make equal parts of first impressions," Woolf stresses their painterly quality in To the Lighthouse.(Desai)

       Here is main focus on the vision of two female protagonists Mrs. Ramsay and Lily Briscoe and their views about life and marriage. The novel begins with Mrs. Ramsay’s promise to her son of going to the lighthouse and ends in the completion of Lily’s picture. Such beginning and ending carry active meaning. In the beginning, Lily starts her painting and can complete it in the end after so many struggles against patriarchal thinking. In fact, nobody really takes her as a painter and she has to struggle not only against her hostess’s feeling that “one could not take her painting very seriously” but also against Charles Tansley’s whispering in her ear that “women can’t paint, women can’t write”.. Lily achieves her vision about life of Mrs. Ramsay and her attitude toward her family. “SOMEONE had blundered." The vision of Lily Briscoe reveals that it was Mrs. Ramsay. Superficially Mrs. Ramsay is a beautiful, positive creature, but gradually unveiled as the vision of Lily Briscoe unfolds, she is revealed as the negative force which usurps the lighthouse and thus prevents the integration of the family while she lives. Only after her death can James and Cam go to the lighthouse, and thus symbolically to their father. The action of the novel shows Mrs. Ramsay to be an absolute matriarch whose dominion lives ten years beyond her Self. Her blunder is ironic in that she is unaware of it, but Mr. Ramsay experiences it and Lily Briscoe finally comes to know it in her vision. The following scenes, which involve mother, son, and father, are introduced by the theme: "Someone had blundered." The words had been meaningless to Mrs. Ramsay for a long time. "Fixing her short-sighted eyes upon her husband, who was now bearing down upon her she gazed steadily until his closeness revealed to her that something had happened, someone had blundered. But she could not for the life of her think what". Mrs. Ramsay is repeatedly described as being short-sighted; she often sees in error, or not at all. But on the contrary, at the end of the novel Mr. Ramsay looked back at the island from the sea "with his long-sighted eyes ". (Pedersen)
                                         
                                       

              Both Lily Briscoe and Mrs. Ramsay live in the presence of its reality. Symbolically, their perceptions of reality are usually interlocked with the Lighthouse, in her mystical experience; Mrs. Ramsay identifies the experience with the third stroke of the Lighthouse. For Lily Briscoe, as for Mrs. Ramsay, the Lighthouse symbolizes her vision of life. When Mr. Ramsay lands on the shore of the Lighthouse, Lily simultaneously finishes her painting which expresses her vision of life. Fulfillment of Lily Briscoe's vision completely establishes the nature of the Ramsay family, and added leitmotivs and images of window and lighthouse, land and sea, repeat the theme on the symbolic level until at the end the unity of the painting is complete when Lily Briscoe has had her vision. Mrs. Ramsay is alienating her son from his father and seeking to divert her husband's attention away from James. James's Oedipus complex is clearly nurtured and encouraged by his mother. That is why James hates his father when the youngest child James asks to go to the lighthouse the next day, which receives warm response from Mrs. Ramsay with “Yes, of course, if it’s fine tomorrow”(Woolf, 1994, p.1), but cold disapproval from Mr. Ramsay with “But it won’t be fine” (p.1). Mr. Ramsay said him that if tomorrow the weather is not good, we can’t go to the lighthouse and James became angry and wants to kill his father. The rivalry between father and son is destructive. For her, consciously her domestic triumph, her matriarchy, her selfhood is more important than the integrity of the family. As a person, Mrs. Ramsay is not extraordinary; she has her share of virtues, charms, and faults. She felt bound to protect "the whole of the other sex" and to guard and support her children, and even her husband if he insisted upon her support. She boasted of her "capacity to surround and protect" until she had given all of herself. Mr. Ramsay's demand for praise annoyed her; she wished such praise was not necessary; ‘perhaps it was her fault’. At the conclusion of Mrs. Ramsay's meditation upon the state of the house, when she thought on death and hopelessness, she had a "spasm of irritation" and spoke sharply even to James. (Pedersen)

      Lily Briscoe a single woman painter, who has been trying to draw a picture for the mother and her little son. We discover that Lily Briscoe is painting a picture in the way that Virginia Woolf expects. During the painting, somehow it seems a bit difficult for her to deal with the blankness in the middle of the picture, which perplexes her even at the following dinner party. The unfinished picture is put aside for ten years during which Mrs. Ramsay has passed away. Lily Briscoe attains major importance as the visionary artist. The fulfillment of the son's desire for integration with the father (and the female's union with the male), is revealed artistically in Lily Briscoe's painting, after she has had her full vision. We must respect Lily Briscoe's view of the Ramsay family, for she is the artist who had the vision. Her analysis of Mr. Ramsay is enlightening: Lily Briscoe went on putting away her brushes, looking up, looking down. The entire action of the novel is unfolded symbolically in Lily Briscoe's painting. From the beginning we recognize her as an outsider. She did not want "her picture looked at", because she is "honest" and because she knows the truth of her vision is difficult to bear, so difficult that even she has doubts of its validity. Lily's consciousness of the exalting powers of love prepares us for her next reaction to her painting, when Lily looked at her painting, "she could have wept”. Lily is aware of Mrs. Ramsay's character; she "laughed almost hysterically at the thought of Mrs. Ramsay presiding with immutable calm over destinies which she completely failed to understand." For a brief time, Lily herself was attracted to at least the idea of marriage, to Paul as a person, but when she experienced almost immediately the most unpleasant sensations, she soon thanked Heaven "she need not marry," seeing marriage as a "degradation" and "dilution”. Lily Briscoe's artistic powers have been stimulated and she has brought a keen insight to bear on the Ramsay family. After ten years she had arrived at the answer to her vision, but could not say just what it was . She knew something was "out of harmony". This search after truth brings Lily to her painting again. The lighthouse perished alone the empty space the problem of the foreground she would return to that "moment of revelation" and finish her picture. (Pedersen)

                                           
           
               
              Lily finishes her picture and puts the tree in the very middle of the picture. The tree placed in the middle indicates that Lily, the representative of women independence, has managed to restore the truth: Woman is the real mother of the world, but not man. Women should and can learn to write their history in their own discourse. That the blankness of the picture is finally filled means that women eventually learn to express themselves in their own way. It is Lily’s perseverance and self-sacrifice that make her picture complete. Lisa Williams says that “Lily is like a bee drawn to the intangible…Lily’s unfulfilled lesbian longing for this Mrs. Ramsay, the icon of Victorian womanhood, leaves her completely isolated. Even though Lily can reject the values Mrs. Ramsay represents, she is still nonetheless in love with her” Lily has to sacrifice a lot and rejects all traditional roles of women. Different from Mrs. Ramsay who tends to please and comfort men. (Williams, p.143) (Jingrui)

                  Virginia Woolf symbolizes reality in a physical object because the Lighthouse rock is comparatively stable whereas the human consciousness, which perceives reality, is continuously in flow until it touches that reality outside itself. “As Woolf certainly intended, Lily Briscoe’s paintings have usually been read as analogous to the novel itself, implying in turn that Lily represents Woolf herself”. On both the literal and symbolic levels,  on the journey and in Lily Briscoe's vision, is James's desire, and in effect the whole family fulfilled. Thus, the human personality becomes symbolic of the common life into which all things flow and merge into the form of that personality.

                                            “Close the door and open the window”.

This is the last dialogue spoken by Lily Briscoe which earlier spoken by Mrs. Ramsay may be it is used as the critique as well as tribute of Mrs Ramsay. The novel is open ended that can accept different views to look at that who is the protagonist , her visions towards life and which aspect to be prove by it.

Works Cited

Desai, Kausal. "Blogger." <http://desaikaushal1315.blogspot.in/2014/10/virginia-woolfs-to-lighthouse-critique.html>.

Hameed, Dr. M Madhavan and N Sheik. "Vision of Reality in Virginia Woolf’s To the Lighthouse." DJ Journal of English Language and Literature 1(2) (2016): 49-52.

Jingrui, HUI. "Feminism Revealed From Lily’s Picture in To the Lighthouse." Vol. 7. Studies in Literature and Language, 2013. 73-76.

Pedersen, Glenn. "Vision in to the Lighthouse." Vol. 73. Modern Language Association. 585-600.

Paper- 10 Santiago and Eternal Feminine: Gendering La Mar in ‘The Old Man and Sea’

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Prepared by    : Komal Shahedapuri

Roll No             : 14

Paper -10       : The American Literature

M.A (English):  Sem -3

Enrollment No: 2069108420170027

Batch                :  2016-18

Email     ID        : komaltara1311@gmail.com

Submitted to   :  Smt .S. B Gardi , Department of  English,
                             M.K Bhavnagar  University                                                                                                                                                                   

Topic:  Santiago and Eternal Feminine: Gendering La Mar in ‘The Old Man and Sea’                                                                                          

                                                                                                By Susan F. Beegel

Preface

      
            Earnest Hemingway was an American novelist, short story writer and journalist. He produced most of his work between the mid- 1920s and mid-1950s, won Nobel Prize in literature in 1954 , it was for “his mastery  of the art of narrative, most recently demonstrated in ‘The Old Man and the Sea’ and  before two years  he won Pulitzer Prize in 1952. He published seven novels, six short stories collections and three non-fiction works were published posthumously. Many of his works are considered classics of American Literature. His writing style was shaped ‘in reaction to experience of world war’. After WWI he and other modernists “lost faith in the central institutions of western civilization” by reacting against the elaborate style of 19^th century writers and by creating a style “in which meaning is established through dialogue, through action and silences, a fiction in which nothing crucial. Hemingway called his style the Iceberg Theory, the facts float above the water, supporting structure and symbolism operate out of sight. (wikipedia)

The Old Man and the Sea

                           
                                                       
         
                      Hemingway has written this novella (short novel) in 1951 and published in 1952. It was last major work of fiction that was published during his lifetime, it was one of his most famous works which tells the story of Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream off the coast of Cuba. (Wikipedia)

Eco-Feminism

                                           
   
          Any of a wide range of theories, some of which argue that feminism is no longer relevant to today’s society or that feminism needs to be extended to fit the changing expectations and experiences of women since feminism’s inception. Eco- Feminism is a special lance of viewing Feminism. The earth is matriarchal and Nature also called Mother Nature, a word ‘Her’ used for Nature. However the society is driven by Men. While in agriculture women are backbone of  the development of rural and national economics. In Africa, 80% of the agricultural production comes from small farmers, who are mostly rural women. Though, phallic symbol that Farmer (men) known as Father or Old Man(destroyer), Earth consider as  mother and farmer(men) destroy the land or Marlin here.(women)

‘Eco-Feminism is a philosophical and political  theory and movement which combines with feminist ones, regarding both as resulting from male domination of society.’  

Nature and Femininity

       Eco-feminism was a term coined in the 1970s that links feminism with ecology. Its advocates say that paternalistic/capitalistic society has led to a harmful split between Nature and Culture. Early eco-feminists propagated that split can only be healed by the feminine instinct for nurture and holistic knowledge of nature’s processes. Modern Eco feminism focuses more on international questions, such as how the nature-culture split enables the oppression of female and nonhuman bodies. There is one article on this, ‘Is Female to male as Nature is to Culture?’ by Sherry Ortner, in which she offers us an explanation to why women have been universally considered to be second-rate to men throughout the history, by arguing that women’s subordinate status is a result of the human mindset that human culture is superior to nature, that culture subduing nature. Ortner theorizes that women’s body and psychology are perceived as symbolically identifiable with nature, while men are more associated with culture, thus resulting in the women being considered inferior to men.  

 
Santiago and Eternal Feminine: Gendering La Mar

              This is written in a form of an article by Susan, begins with what Leslie A. Fiedler wrote that “Hemingway is always less embarrassing when he is not attempting to deal with women” and he returns with relief to that “safe” American Romance of the boy and old man. Like Leslie, most of the critics of this novella overlook the fact that The Old Man and the Sea has powerful feminine persona in a title role. Hemingway always tells us that Santiago “always thought of the sea as La Mar which is what people call her in Spanish when they love her. Sometime those who love her say bad things of her but they always said as though she were a woman.”  If the novella is an ‘American Romance’, it is not the love story of the Old man and Manolin but of the Old man and the Sea.

        In The Old Man and the Sea, sea possesses powerful female qualities. Upon reading the novella, it noted the strong relationship that Santiago had with the sea and, in a work with few central characters, the sea stood out not only as a setting but as a character as well. The sea functions as a home for Santiago as well as a companion while he sets out on the long voyage to bring the marlin back to the shores. The sea and Santiago form a special bond, which Hemingway captures in the strongest piece of textual evidence that I could find confirming the sea as having a female gender. (Zabala)

                 The Old Man and the Sea (1952) reveal the masculine anxieties that Santiago experience respectively. The relationship between a gender indeterminate sea and the Santiago highlights the man’s anxieties about masculinity due to the strict gender binaries imposed by society. He although described by many critics as “stoic” and the “classic Hemingway hero,” display discomfort by having to ascribe to a masculine ideal of tough, sexual, aggressive, bread-winner, etc. The multi-gendered sea reveals Santiago’s anxiety about masculinity in that he tailor the sea’s gender according to their experiences at sea. Hemingway has a multi-gendered sea as a character in his works because Hemingway’s characters refer to the sea as both male and female. Beegel is a thoughtful argument as to why the sea could be gendered female, but she exclusively labels the sea as female. Beegel indicates that Hemingway “genders the sea as feminine throughout the text”. By contrast, Thomas Strychacz remarks that a masculine sea provides Santiago with a challenge Hemingway’s Theater of Masculinity, which provides an equally powerful argument, but he, like Beegel, assumes a reductive understanding of gender. Santiago associates himself with the sea. In calling the marlin brother, Santiago notes that the sea does have a masculine quality. (Zabala)

       But Beegel in this article gendered sea as female, when we see sea as the character equal to Santiago, we see how Hemingway using the rich tapestry of images drawn from mythology, religion, folklore, marine natural history and literature that genders sea as feminine throughout the text which raising the key question about right relationship between man and nature. Hemingway argues that the true sin is masculinizing nature. Examining the role played by feminine sea in this story reveal that it has strong ecological ethic. (Beegel)

      
          Santiago genders sea early in the novella by saying that ‘she is kind and very beautiful. But she can be so cruel and it comes so suddenly’, this moment can say that Santiago always thought of sea as La Mar. The moon affects her as it does a woman, he thought. Sea’s connection to a spiritual and biological principle of the Eternal Feminine. He invokes the ancient personification of the moon as a feminine principle in nature, the monthly lunar changes affecting both the tides of the sea and the woman’s cycle of fecundity or menstruation period. Santiago knows the maternal, womblike space the fisherman call “the great well”. He also experience the sea as matrix when he looks at plankton and feels happy because it means fish:

          
                    The water was a dark blue now, so dark that it was almost purple.

                    As he looked down into it he saw the red sifting of the plankton

                    in the dark water and feels happy so much because it means fish.

            
           The sea, Herman Melville reminds us in Moby-Dick, has its ‘submarine bridal chambers, Santiago is well aware. To him “a great island of Sargasso weed  that heed and swung in the light sea” looks “as though the ocean were making love with something under a blanket.

            
         Asked in a class how Hemingway’s seemingly simple and objective prose could achieve such a poetic quality in The Old Man and the Sea, woman student gave this explanation: “it’s the difference between a man taking a photograph of a woman and a man taking a photograph a woman he loves.”Throughout the novella, the images selected to represents la mar establish that she is indeed ‘very beautiful’ and that Santiago is a lover, engaged in what marlin not only his brother , but suffers as Santiago himself suffers.

      
        Ethical Killing, Santiago kills marlin because it is the source of fool as he said ‘it is bread of children so long as the killing is followed by eating, the act of communication, of sharing the blood of life. The Old Man and the Sea lacks a fully developed ecological ethic, because Santiago perceives some creatures of the sea, such as sharks and poisonous jellyfish as ‘enemies’.    

         
      Hemingway’s work “is deeply imbued with a theatrical fashioning of manhood,” as he too focuses on Santiago’s treatment of the sea before his encounter with the marlin . Prior to Santiago’s meeting with the marlin, Santiago notices a creature floating in the water known as the Portuguese Man-of-War. At this time, Santiago alters the sea and all “her” parts as feminine, as he does not exhibit any anxiety. As Santiago describes the creature, the audience learns that Santiago holds much disdain for the creature as he equates the creature with a “whore” and calls it “the falsest thing in the sea” (Hemingway 35-6). Obviously, his “chest pounding masculinity” comes in to play as Santiago uses a misogynist term to refer to a portion of the sea. (Zabala)

      Santiago rejects those who masculinizing the sea. But against his view of Mother Sea as a beautiful, kindly and generous feminine provider/giver, he sets an opposing view of feminine nature as cruel and chaotic. Here we see that Santiago includes the feminine principles of “women” and “wife” with “storms” and “great fish”. When Santiago thinks “the moon affects her as it does a woman”, he betrays male fear of female power, of the menstruous or monstrous woman whose wildness and wickedness challenges his rationalism and control, and whose cruelty provokes his attempts at dominance.

        
      Santiago believes that in his great love for and understanding of la mar, he has accepted    “everything that goes with” her femininity. The text violates Santiago’s sin is both unnecessary and direct result of the “masculine” thinking. The arrival of Mako (powerful shark) as a grim reminder that marlin, shark, and man all predators are brothers, children of the same mother. Yet ‘the shadow of the shark is the shadow of the death”, as Peter Matthiessen has observed that when Santiago sees the Mako, he curses the mother – ‘Dentuso, he thought bad luck to your mother’ and who is the Mother of Sharks if not la mar? Santiago assaults the shadow of death “without hope but with resolution and complete malignancy”. His rebellion against death  from the start of the novella , underlain his quest for the marlin.

Cyclical nature

         If Santiago believes in the sea as both friend and enemy, cradle and grave, life and death and accepts her cycles, the he may partake in the natural consolation of Ecclesiastes revised; “One generation passeth away and another generation cometh, but the abideth forever”. The pagan and the naturalist both draw spiritual comfort from material immorality in the Eternal Feminine. Claire Rosenfeld calls a “spiritual kinship”, the sea as wife and mother joins them (old man and Manolin) as father and son.

        Hemingway highlights Santiago’s failure as a fisherman as Santiago returns with nothing but the marlin’s skeleton in the end ‘The Old Man and the Sea’. As a fisherman, Santiago must be successful at fishing in order to fulfill his role in society. It shows his dominance over the feminine sea by using misogynist terminology.  

Works Cited

Wikipedia. <https://en.wikipedia.org/wiki/Ernest_Hemingway>.

Wikipedia. <https://en.wikipedia.org/wiki/The_Old_Man_and_the_Sea>.

Beegel, Susan F. "Santiago and the Eternal Feminine : Gendering La Mar in The Old Man and he Sea."

Zabala, Kemen. "Hemingway: A Study in Gender and." Senior Honors Thesis (n.d.).

 

 

Paper - 12 Classroom Interaction

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Prepared by : Komal Shahedapuri

Roll No : 14

Paper -12 : English Language Teaching -1

M.A (English) : Sem -3

Enrollment No: 2069108420170027

Batch : 2016-18

Email  ID : komaltara1311@gmail.com

Submitted to : Smt .S. B Gardi , Department of English, MK Bhavnagar University. 

Topic: Classroom Interaction

                                                                                                                               By B.M Tsui

Preface

                  In order to acquire any (English) language, some practical things should be practiced in language classroom. First thing in classroom should be happen that meaningful Interaction between teachers and learners and among the learners in the language classroom. Earlier studies of second language classroom interaction focused on language used by the teacher and learners the interaction generated, and their effect on L2 learning. Classroom interaction stimulates the learner’s involvement in the classroom. It fuels student’s motivation and help learners to see the relevance of teacher’s topic. It increases participation of learners in classroom discussion. They are given the chance to air their opinions in the class.

         

        Allwright (1984) proposed that interaction is the fundamental fact of classroom pedagogy because everything that happens in the classroom happens through a process of live person-to- person interaction. This perspective has led researchers to observe and describe the international events that take place in a classroom in order to understand how learning opportunities are created and also to examine how different kinds of classroom interaction lead to learning. (Dehsheikhi)

The nature of second language classroom discourse 

Classroom discourse mediates between pedagogic decision-making & outcomes of language instruction. Classroom discourse:

• is not planned in advance

• is co-produced with the learners

• will reflect the pedagogic decisions that have been taken

• evolves as part of the process of accomplishing the lesson

• has been found to manifest distinct and fairly predictable characteristics (Dehsheikhi)

Definition

‘Classroom Interaction is a practice that enhances the development of the two very important language skills which are speaking and listening among the learners.’ This device helps the learner to be competent enough to think critically and share their views among peers.

Van Lier (1988) identified the following basic rules governing classroom turn-taking:

1. In L2 classrooms, whenever centralized attention is required: a. One speaker speaks at any one time; b. Many can speak at once if they say (roughly) the same thing, or at least if ( a proportion of ) the simultaneous talk remains intelligible.

2. If not (a) or (b), repair work will be undertaken. He also states that classroom turn-taking is different from other verbal interactions in that it is regulated by means of some form of centralized control to ensure intelligibility. (Dehsheikhi)

There are major two interactions

 Between Teacher & Learners

• Teacher’s talk is usually in a form of a questions, it teaches learners to interact with teacher.
• Emotional Support: Positive relationships among teachers and students
• Classroom Organization: Well-managed classrooms that provide students with frequent, engaging    learning activities
• Instructional Support: Interactions that teach students to think, provide ongoing feedback and    support, and facilitate language development 

                                          

Among Learners 

          Leaner’s talk is usually a straight answer to the question posed by the teacher. This one is allow the learner to learn and understand how to work with partners. It develops and improves the skills of team work and peer relationship. It emphasizes the communicative and cooperative work. They develop their cooperative learning by supporting each-other It avoids a boring, repetitive, and isolating learning environment, build activities and assignments that ignite classroom discussion. (Robayo)
                                         

Types of Classroom Interaction

                                           

These are the different methods of classroom interaction through which effective and successful interaction can be created in classroom.

Conversation with Learners. 

Conversation is most important part of learning process of any language, it should be happen between teacher and learners and among learners. It can help learners to improve the two important skills of language learning that is speaking and listening.

Collaborative learning

Collaboration of different learners whose native language is different and belong to different places. By work together, all learners can know about each other’s culture, places etc, which make them one group to achieve one goal that is learn target language.

Interactive Session

In classroom, there should be interactive sessions with teacher and native speakers of target language. Learners can take part in this interaction and can improve more language skills.

Discussion and Debate

In classroom, some events like discussion on various topics and debate on particular topic should be dose, so that learners critical as well as creative thinking can expand. By taking part in this events, learners can learn how to argue with others on various topics and can express personal views in it.

Role Play

Role playing is whereby the students take on given role and act out on screen with other. This allows students to demonstrate creativity and knowledge and help them t outside the constraints of classroom. (Tsui)

Loud Reading 

Reading aloud includes a situation where one person read aloud while others are listening which improve again speaking and listening skills.

Story- telling 

Learners can tell different stories which can improve speaking skill and imaginative skill of learners in target language.

Teacher’s role

            The role of the teacher during these sessions is passive yet very crucial. It is the responsibility of the teacher to create learning culture or atmosphere inside the classroom. It is through these interactive sessions teacher can extract responses from learners and motivate them to come out with new ideas related to the topic. Teacher is an observer who helps learners to construct an innovative learning product through group discussion, debate, and many more. Teacher can plan out the best modules of interaction that would be effective to invite the learners in classroom interaction through which the learners will be able to get themselves involved with the concept, ideas and various other devices and products for language and culture learning. There was the time when the traditional approach of teaching was adapted by most of the teachers, where the learner used to be dependent on the lecture delivered by the teacher. They were not exposed enough to practice of speaking on their own and hence the interaction among the learner in the classroom almost absent. But as the education system changed and technology developed with time. So, now with tools of technology and teacher, more of learner’s interaction is in demand rather than just listening to the instructor. Classroom interaction is very important and essential in today’s education system. (Ibrahimova)

           
            Teacher can make eye contact with each students by scanning the entire classroom as teacher speak by moving in all sections of the class. Encourage those students who rarely participate in conversation or interaction in the classroom. Improving classroom interaction involves continually assessing teacher’s teaching, students’ learning and teacher’s relations with students. The students have relation with the teacher, with each-other and with the materials. It’s important to get feedback about all the three of these relationships. Teachers should make their teaching transparent, ask students if they understand that why they are doing all these activities. Teacher can also use workbook titled “Creating a Feedback Questionnaire” which help teacher to come up with additional methods for generating feedback from students. Teacher’s Role is to provide the materials, adequate environment, Feedback on students and create the opportunity where students can interact. (Robayo)

The teacher’s contribution to classroom discourse L2 TEACHER TALK can be viewed as a special register, analogous to foreigner talk.

Fillmore (1985) identified a number of features of teacher talk that she claimed were facilitative of acquisition:

•  Avoidance of translation
•  An emphasis on communication and
•  comprehension by ensuring message redundancy The avoidance of ungrammatical teacher talk
•  The frequent use of patterns and routines
•  Repetitiveness
•  Tailoring questions to suit the learners’ level of
• proficiency General richness of language

Student’s role Interact in classes

•  Create feedback to teacher
•  Ask for correction and help
•  Cooperate with other students
•  Use the target language in learning process (Robayo)

Objectives

For students:· 

• To help the learners to identify their own learning methods.
• To guide the learners to communicate with their peers easily. 
• To help the learner to come face to face with the various types of interaction.
• To aim at meaningful communication among the students in their target language.

For teachers:

• To know the students´ needs
• To create an adequate communication 
• To aim at probing into the learner’s prior learning ability and his way of conceptualizing facts and ideas.
• To help the teacher to have a detailed study of the nature and the frequency of student interaction inside the classroom (Dowsakul)

          These are the main objectives of classroom interaction which help learner to know about themselves that in which skill they are good and what is their real talent or strength. They can easily identify that how they can learn or which methods are appropriate for themselves to learn anything. It can guide them that how to talk with their peers in a proper way about various topics. It provide the chance to the learners for face to face conversation with peers and teacher in the classroom, with the development of the technology the online virtual classroom created that is Google Classroom which is very wonderful platform where the learners can attend classes from different places wherever they want. It can very useful to he learners who are living in a different cities or states or countries. It can help learners to interact with others in a target language.

Characteristics

1.  In contrast, more student-centered classes provide adequate time during activities for students to think about concepts, receive feedback, and/or participate in discussions that may guide the direction of the lesson. 
2.  Some activities may allow students freedom to engage in their own learning (e.g., online search for relevant information) and/or may involve the students using the instructor as a resource to provide information as needed. This "guide-on-the-side" model is indicative of highly reformed, student-centered classrooms. 

          Here, the focus is on the learners that how their learn and improve after achieving feedback from the teacher and participation is more important for them. Activities should be done in classroom which provides freedom to the learners to engage in their own learning, for example when teacher is teaching something but it is bit difficult for students to understand than students can search meanings in dictionaries and read online about it which can give clear understanding of the topic that is taught by the teacher in the classroom to the students.

Structuring of Classroom Interaction·

•  Contains activities where the instructor can receive student feedback to determine if there is a need to adapt the direction of the lesson.· 
•  Have multiple opportunities for interaction between the instructor, individual students, small student groups, and the whole class.· 
•  Capitalizes on the diversity of student experiences to generate alternative solutions to (open-ended) problems and to explore student ideas within the context of the lesson.· 
•  Includes sufficient time to have meaningful discussions around student activities and arrive at fully realized responses. 

 Teacher should arrange such an activities where students can totally engage themselves and teacher can get feedback of them that what is their experience of learning through different methods. There is diversities in various experience of the students which can explores the new ideas in their mind. Teacher should provide sufficient time for discussion, it’s like open ended discussion.

Importance of classroom talk 

• Studies conducted on classroom interaction have shown that student talk accounts for an average of less than 30 percent of talk in ‘teacher-fronted’ classrooms.
• Yet studies on language and learning have shown that children not only learn to talk but they also talk to learn. This can be seen from the fact that children are persistent questioners; it is by asking questions that they explore and learn about the world around them.
• However, studies have shown that the number of questions asked by children drops significantly as soon as they enter school. (Wilkinson) 

          Through the classroom interaction, students can learn to speak in a target language with peers and teacher in classroom as well as the outside the classroom. They speak to learn some new things form others. Students should ask different questions which can enhance their imaginative power and critical thinking.

Goals of classroom interaction

• promote meaningful communication in the target language .
• provide a metalanguage for talking about language and culture .
• engage learners with texts and resources that reflect language and culture in context.
• engage learners in tasks that deepen their experience and understanding of the target language and culture
• promote reflection on language and culture learning and use . 

             Main goals of classroom interaction are that to provide the wonderful platform to the learners where they can practice all things practically. Language used in the classroom, two language should be there first is target or English language and second is native language which can provide basis for deeper cognitive engagement in classroom. Metalanguage (Vocabulary) should be provide to the learners as support to speak in the English language about the culture and language. Engagement of the learners in the tasks which can deepen their experiences and understanding of the language and culture and develop their major four skills of language learning LSRW through the activities like debate, role play , screening of English movies without subtitle, listening and talking with the native speakers of English language.

What Shapes Interaction in a Language Classroom?

•  pedagogic goals (what is to be taught).
•  methodological goals (how is it going to be taught).
•  social goals (what kind of social relationship is to encourage).
•  classroom settings and teacher action zone.
•  Type of task being used.
• students’ willingness to communicate.

         Aspects of the Language pedagogy Standard specifically addressed in the module are (to) create a culture of learning …which fosters interest in languages and cultures and encourage learners to accept responsibility for their own learning, (use)… a range of methodologies for languages and cultures teaching and in their practice select from these in a principled way, taking into consideration the learners, the learning context, curriculum goals, and the aspect of language being taught. (Wilkinson) What is there which shapes the interaction in language classroom that is what is to be taught? How it taught in which method? Which types of social relationships are built by it? Classroom settings or atmosphere is also affects the interaction. Which types of tasks can be given to the learners which help them to improve language skills is very important. Major thing that is matter here is the learner’s willingness to communicate which matters a lot if it is not present all above things are fail for successful classroom interaction.

Conclusion 

           This idea is to reinforce the technique in successive class. Interaction is what people do most in their daily lives. If the person is accustomed to interacting then surely we as teachers must try to get learner to carry on interacting in conversation in the class. So, while we the teachers can’t show students how to exercise their vocal codes, we can remind them to use normal conversation tactics. It makes classroom dynamic and L2 learners can do appropriate tasks that is given by teacher to them which here means “Interaction”. (Dowsakul) 

                                  "Telling is not teaching;

                                    listening is not learning.

                                    Teaching is listening,

                                    learning is talking"

Works Cited

Dehsheikhi. Slideshare. <https://www.slideshare.net/dehsheikhi/classroom-interaction-and-second-language-acquisition>.

Dowsakul, Mrs.Yaowarin. Slideshare. <https://www.slideshare.net/yaowarinsriuttaman/classroom-interaction-32085345>.

Ibrahimova, Aybeniz. "slideshare." <https://www.slideshare.net/aybeniztahirova/classroom-interaction-38493123>.

Robayo, Vanessa Pérez. Slideshare. <https://www.slideshare.net/vanessaperez731135/classroom-interactions>.

Tsui, B. M. "Classroom Interaction." 6.

Wilkinson, Tina. Slideshare. <https://www.slideshare.net/tina_wilkinson/classroom-interaction>.