Department of English language and Literature

The relations based on blood or marriage may be close or distant. The bond of blood or marriage which binds people together in a group called Kinship. Kinship terms are used all over the world and these terms vary in every society. Our society has multiple kinship terms. This research is based on to study this phenomenon of kinship in a Pakistani literary text. We are going to analyze kinship terms on the basis of Classificatory and descriptive system given by Morgan. For this purpose, i have selected the novel Aangan by Khadija Mastoor. it depicts the story of family which is divided on the basis of their  political differences.

Poststructuralism is a continuation and simultaneous rejection of structuralism – not only literary structuralism but even more so the anthropological structuralism of Levi-Strauss. Poststructuralism is unthinkable without structuralism. As I have already suggested, it continues structuralism's strongly anti-humanist perspective and it closely follows structuralism in its belief that language is the key to our understanding of ourselves and the world. Still, although it continues its anti-humanism and its focus on language, poststructuralism simultaneously undermines structuralism by thoroughly questioning – 'deconstructing' – some of its major assumptions and the methods that derive from those assumptions. Structuralism, then, takes language very seriously. But it also takes language very much for granted. It knows that there is no natural link between a word and that which it refers to. It does not, however, really examine the possible consequences of that gap between language and the world. Derrida argues, the meaning is purely relational, is a continuous play: relational movements of signifieds becoming signifiers ad infinitum. If we would like to halt this play, we will need something what Derrida calls a " transcendental signified-that is a sign that does not depend upon other signs for its meaning. if there is no transcendental signified, no discourse can have a final and stable meaning, truth is hen deconstructed. Barthes says. " it's no longer myths which must be unmasked …. but the sign itself. " On the other hand, we have for a long time been aware that language can be extremely slippery. Think of famous classical paradoxes such as the paradox of the Cretan who says that all Cretans always lie. If all Cretans always lie, then the Cretan's statement is true – but he himself simultaneously proves it untrue, because although he is a Cretan he has at least for once not lied. It is of course possible to disentangle the various threads that go into the making of paradoxes. So if we want to say something about language we ideally want a perspective outside language to say it. With language, however, there is no outside perspective. We can only speak about language with the use of language. No matter what we say, we are always inside. The structuralists never address this problem, operating as if they themselves are never part of structures, as if there is a position outside language and other structures – in short, as if they are from Albany, New York, rather than from Crete. First of all, Derrida tells us, language is inherently unreliable. Words are never stable and fixed in time. After all, in other contexts, red may have a completely different meaning. The red of red roses has for centuries stood for love, and most certainly not for 'stop'. The red of traffic lights, then, carries the 'traces' of amber and green within it, and is not pure, unadulterated red. Derrida argues that the same holds for words: every single word contains traces of other words. Derrida tells us, that the process that gives words meaning never ends. The words we say or read never achieve stability, not only because they are related to, and take part of

This article aims at juxtaposition of Midaq Alley (Najeeb Mahfouz) and Manto's selected plays: The Insult(Hathak), New Constitution, Black Shalwar. Both of the aforementioned authors almost lived in the same era with social circumstances that very much resembled: native lands of the writers were under British colonisation, people underwent exploitation and witnessed deprivation, societies were transformed. The period caused transition, tradition was denigrated and the so called civilization was admired; this phenomenal change caused  isolation of the weak fabric of society; Mahfouz and Manto have fictionalised the tormenting scenario of the age. They have recorded harshness and politics of the age under the aesthetic covers of literature; Manto argues in one of his essays:
"If you are unaware of the times through which we are passing, read my short stories. If you  cannot tolerate them, it means this age is intolerable. There is no fault in my writings. The fault which is attributed in my works is fault of the age."
These writers exposed whatever they observed and experienced; though the satire was not direct and bitter, it received rigorous reaction from the society. They were called upon by the religious authorities and questioned for what they had written. Manto even faced legal prosecution for some of his short stories.

Pakistani literature, since Independence, has come a long way from its early roots in post-independence English writings in the subcontinent. Over some 50 years or so, it has evolved from its imitative, slavish cast into an original and rather dynamic mode. Today it has a

Reflection of cultural ethos has always been the central idea of literature. No one can fully comprehend a work of literature without being studying the cultural norms that underlie that piece. This is as true for Pakistani literature as it is for British, American, or Post-colonial or Indian literature. Taufiq Rafat has the credit of being the first Pakistani poet to adopt this concept of culture-specific writing in Pakistani English Literature. He has employed various kind of imageries in his poetry that reflect Pakistaniness in all aspects whether material, geographical, seasonal, cultural, traditional, or ideological.

This paper deals with the punctuation and the choice of words used in Lamb's essay, " Oxford in the Vacation ". The research regarding punctuation marks has been limited to dash, comma, parenthesis, colon, semicolon , and exclamation mark. The undertaken study aims at the standard usage of these marks and looks at how Lamb has used all of these. It has been found that at some places Lamb has violated important grammatical rules, which are blunders but it has also been observed that to create a specific effect one will have to do the way Lamb did. Besides, punctuations, diction of the essay has also been discussed and analyzed. The words' choice has been relevant to the information he wants to deliver.