The Accursed House by Emile Gaboriau

About the Author: 


Émile Gaboriau, (born November 9, 1832/33/35, Saujon, France—died c. October 1, 1873, Paris), French novelist who is best known as the father of the roman policier (detective novel). He has been described as the Edgar Allan Poe of France.


Gaboriau’s prolific imagination and acute observation generated 21 novels (originally published in serial form) in 13 years. He made his reputation with the publication in 1866 of L’Affaire Lerouge (The Widow Lerouge) after having published several other books and miscellaneous writings. His later books, many of them classics of their kind, include Le Crime d’Orcival (1867; The Mystery of Orcival), Monsieur Lecoq (1868), Les Esclaves de Paris (1868; The Slaves of Paris), La Vie infernale (1870; The Count’s Millions), and L’Argent des autres (1874; Other People’s Money). Gaboriau created the fictional detectives Père Tabaret and Monsieur Lecoq; the latter was a fictional precursor of Sherlock Holmes

(https://www.britannica.com/biography/Emile-Gaboriau)

CLICK HERE to read the full text of the short story The Accursed House. 

Here is the presentation of this story. It might be helpful for the examination.




Critical Interpretation: 

The story is quite simple. However, the title might be distracting from the concern of the story. It has a sarcastic tone on society as well as shallow and poor thinking of people. For human beings, if things are right they will easily accept but if things will be right in a more easy way for them, they probably create doubt, passing and coloring their judgments without doing a fact check. The main concern is evoked from the story while we go through the dialogues between tenants. They triggered him and made several speculations as a criminal, some sinful things he did and tried to hide his crime for that reason he made fack sympathy towards them. Slowly as a reader, we come to know that Victome is not strange but the author made the other characters as strange as Bernard feel quite anxious which reflects all tenants' anxiety about their proprietor. For Victome, money is not an important thing to achieve in his lifetime but people's (tenants) blessings. He said,

 When one bears a great name like mine, one should not lend himself to such plundering. I will begin to-morrow to lower my rents, and my tenants will bless me."


Around us, we can find lots of people who really want to do something without any returns or pay. On the other hand, we can find another number of people who distrust others' beliefs and emotions. The purpose of human beings should be to sympathize serve and show compassion towards others. 

TEXT: The Accursed House by Emile Gaboriau

Emile Gaboriau, best known for his remarkable detective stories, was born at Sanson in 1853, and died at Paris in 1873. He was for a time private secretary of Paul Feval, the novelist, and published a great variety of work. In 1866 appeared in the paper called "Le Pays" his first great detective story, "L'Affaire Lerouge," which the author dramatised in collaboration with Hostein in 1872. Like all of the great series, "L'Affaire Lerouge," "Monsieur Lecoq," "Les Esclaves de Paris," etc., are written in an easy flowing style, and are full of exciting moments.

It is interesting to trace the ancestry of the modern detective story. The first seeds are said to be found in Voltaire's "Zadig"; they germinate in Poe's tales, take form in Gaboriau, and are in full bloom in Conan Doyle's "Sherlock Holmes."



The Accursed House by Emile Gaboriau

THE Vicomte de B______, an amiable and charming young man, was peacefully enjoying an income of 30,000 livres yearly, when, unfortunately for him, his uncle, a miser of the worst species, died, leaving him all his wealth, amounting to nearly two millions.

In running through the documents of succession, the Vicomte de B______ learned that he was the proprietor of a house in the Rue de la Victoire. He learned, also, that the unfurnished building, bought in 1849 for 300,000 francs, now brought in, clear of taxes, rentals amounting to 82,000 francs a year.

"Too much, too much, entirely," thought the generous vicomte, "my uncle was too hard; to rent at this price is usury, one can not deny it. When one bears a great name like mine, one should not lend himself to such plundering. I will begin to-morrow to lower my rents, and my tenants will bless me."

With this excellent purpose in view, the Vicomte de B_____ sent immediately for the concierge of the building, who presented himself as promptly, with back bent like a bow.

"Bernard, my friend," said the vicomte, "go at once from me and notify all your tenants that I lower their rents by one-third."

That unheard-of word "lower" fell like a brick on Bernard's head. But he quickly recovered himself; he had heard badly; he had not understood.

"Low—er the rents!" stammered he. "Monsieur le Vicomte deigns to jest. Lower! Monsieur, of course means to raise the rents."

"I was never more serious in my life, my friend," the vicomte returned; "I said, and I repeat it, lower the rents."

This time the concierge was surprised to the point of bewilderment — so thrown off his balance that he forgot himself and lost all restraint.

"Monsieur has not reflected," persisted he. "Monsieur will regret this evening. Lower the tenants rents! Never was such a thing known, monsieur! If the lodgers should learn of it, what would they think of monsieur? What would people say in the neighborhood? Truly—-"

"Monsieur Bernard, my friend," dryly interrupted the vicomte, "I prefer, when I give an order, to be obeyed without reply. You hear me—-go!"

Staggering like a drunken man, Monsieur Bernard went out from the house of his proprietor.

All his ideas were upset, overthrown, confounded. Was he, or was he not, the plaything of a dream, a ridiculous nightmare? Was he himself Pierre Bernard, or Bernard somebody else?

"Lower his rents! lower his rents!" repeated he. "It is not to be believed! If indeed the lodgers had complained! But they have not complained; on the contrary, all are good payers. Ah! if his uncle could only know this, he would rise from the tomb! His nephew has gone mad, 'tis certain! Lower the rents! They should have up this young man before a family council; he will finish badly! Who knows—after this —what he will do next? He lunched too well, perhaps, this morning."

And the worthy Bernard was so pale with emotion when he re-entered his lodge, so pale and spent, that on seeing him enter, his wife and daughter Amanda exclaimed as with one voice:

"Goodness! what is it? What has happened to you now?"

"Nothing," responded he, with altered voice, "absolutely nothing."

"You are deceiving me," insisted Madame Bernard, "you are concealing something from me; do not spare me; speak, I am strong—what did the new proprietor tell you? Does he think of turning us off?"

"If it were only that! But just think, he told me with his own lips, he told me to—ah! you will never believe me—-"

"Oh, yes; only do go on."

"You will have it, then!— Well, then, he told me, he ordered me to notify all the tenants that—he lowered their rents one-third! Did you hear what I said? —lowered the rents of the tenants—-"

But neither Madame nor Mademoiselle Bernard heard him out — they were twisting and doubling with convulsive laughter.

"Lower!" repeated they; "ah! what a good joke, what a droll man! Lower the tenants' rents."

But Bernard, losing his temper and insisting that he must be taken seriously in his own lodge, his wife lost her temper too, and a quarrel followed! Madame Bernard declaring that Monsieur Bernard had, beyond a doubt, taken his fantastic order from the bottom of a litre of wine in the restaurant at the corner.

But for Mademoiselle Amanda the couple would undoubtedly have come to blows, and finally Madame Bernard, who did not wish to be thought demented, threw a shawl over her head and ran to the proprietor's house. Bernard had spoken truly; with her own two ears, ornamented with big, gilded hoops, she heard the incredible word. Only, as she was a wise and prudent woman, she demanded "a bit of writing" to put, as she said, "her responsibility under cover."

She, too, returned thunderstruck, and all the evening in the lodge, father, mother, and daughter deliberated.

Should they obey? or should they warn some relative of this mad young man, whose common sense would oppose itself to such insanity?

They decided to obey.

Next morning, Bernard, buttoning himself into his best frock coat, made the rounds of the three-and-twenty lodges to announce his great news.

Ten minutes afterward the house in the Rue de la Victoire was in a state of commotion impossible to describe. People who, for forty years had lived on the same floor, and never honored each other with so much as a tip of the hat, now clustered together and chatted eagerly.

"Do you know, monsieur?"

"It is very extraordinary."

"Simply unheard of!"

"The proprietor's lowered my rent!"

"One-third, is it not? Mine also."

"Astounding! It must be a mistake!"

And despite the affirmations of the Bernard family, despite even the "bit of writing" "under cover," there were found among the tenants doubting Thomases, who doubted still in the face of everything.

Three of them actually wrote to the proprietor to tell him what had passed, and to charitably warn him that his concierge had wholly lost his mind. The proprietor responded to these skeptics, confirming what Bernard had said. Doubt, thereafter, was out of the question.

Then began reflections and commentaries. "Why had the proprietor lowered his rents?" "Yes, why?"

"What motives," said they all, "actuate this strange man? For certainly he must have grave reasons for a step like this! An intelligent man, a man of good sense, would never deprive himself of good fat revenues, well secured, for the simple pleasure of depriving himself. One would not conduct himself thus without being forced, constrained by powerful or terrible circumstances."

And each said to himself:

"There is something under all this!" "But what?"

And from the first floor to the sixth they sought and conjectured and delved in their brains. Every lodger had the preoccupied air of a man that strives with all his wits to solve an impossible cipher, and everywhere there began to be a vague disquiet, as it happens when one finds himself in the presence of a sinister mystery.

Some one went so far as to hazard:

"This man must have committed a great and still hidden crime; remorse pushes him to philanthropy."

"It was not a pleasant idea, either, the thought of living thus side by side with a rascal; no, by no means; he might be repentant, and all that, but suppose he yielded to temptation once more!"

"The house, perhaps, was badly built?" questioned another, anxiously.

"Hum-m, so-so! no one could tell; but all knew one thing—it was very, very old!"

"True! and it had been necessary to prop it when they dug the drain last year in the month of March."

"Maybe it was the roof, then, and the house is top-heavy?" suggested a tenant on the fifth floor.

"Or perhaps," said a lodger in the garret, "there is a press for coining counterfeit money in the cellar; I have often heard at night a sound like the dull, muffled thud of a coin-stamper."

The opinion of another was that Russian, maybe Prussian, spies had gained a lodgment in the house, while the gentleman of the first story was inclined to believe that the proprietor purposed to set fire to his house and furniture with the sole object of drawing great sums from the insurance companies.

Then began to happen, as they all declared, extraordinary and even frightful things. On the sixth and mansard floors it appeared that strange and absolutely inexplicable noises were heard. Then the nurse of the old lady on the fourth story, going one night to steal wine from the cellar, encountered the ghost of the defunct proprietor—he even held in his hand a receipt for rent—by which she knew him!

And the refrain from loft to cellar was:

"There is something under all this!"

From disquietude it had come to fright; from fright it quickly passed to terror. So that the gentleman of the first floor, who had valuables in his rooms, made up his mind to go, and sent in notice by his clerk.

Bernard went to inform the proprietor, who responded:

"All right, let the fool go!"

But next day the chiropodist of the second floor, though he had naught to fear for his valuables, imitated the gentleman beneath him. Then the bachelors and the little households of the fifth story quickly followed this example.

From that moment it was a general rout. By the end of the week, everybody had given notice. Every one awaited some frightful catastrophe. They slept no more. They organized patrols. The terrified domestics swore that they too would quit the accursed house and remained temporarily only on tripled wages.

Bernard was no more than the ghost of himself; the fever of fear had worn him to a shadow.

"No," repeated his wife mournfully at each fresh notification, "no, it is not natural."

Meanwhile three-and-twenty "For Rent" placards swung against the facade of the house, drawing an occasional applicant for lodgings.

Bernard—never grumbling now—climbed the staircase and ushered the visitor from apartment to apartment.

"You can have your choice," said he to the people that presented themselves, "the house is entirely vacant; all the tenants have given notice as one man. They do not know why, exactly, but things have happened, oh! yes, things! a mystery such as was never before known—the proprietor has lowered his rents!"

And the would-be lodgers fled away affrighted.

The term ended, three-and-twenty vans carried away the furniture of the three-and-twenty tenants. Everybody left. From top to bottom, from foundations to garret, the house lay empty of lodgers.

The rats themselves, finding nothing to live on, abandoned it also.

Only the concierge remained, gray green with fear in his lodge. Frightful visions haunted his sleep. He seemed to hear lugubrious howlings and sinister murmurs at night that made his teeth chatter with terror and his hair erect itself under his cotton nightcap. Madame Bernard no more closed an eye than he. And Amanda in her frenzy renounced all thought of the operatic stage and married—for nothing in the world but to quit the paternal lodge—a young barber and hair-dresser whom she had never before been able to abide.

At last, one morning, after a more frightful nightmare than usual, Bernard, too, took a great resolution. He went to the proprietor, gave up his keys, and scampered away.
.......................................
And now on the Rue de la Victoria stands the abandoned house, "The Accursed House," whose history I have told you. Dust thickens upon the closed slats, grass grows in the court. No tenant ever presents himself now; and in the quarter, where stands this Accursed House, so funereal is its reputation that even the neighboring houses on either side of it have also depreciated in value.

Lower one's rents!! Who would think of such a thing!!!


Source: 

Patten, William S. Short Story Classics: French II and index. Collier/Macmillan, 1907, https://www.google.co.in/books/edition/Short_Story_Classics_American/nG8oAQAAIAAJ?hl=en&gbpv=1&pg=PA329&printsec=frontcover. Accessed 26 11 2023.


Talent Gala 2023


Education is not the filling of a pail but the lighting of a fire.
– William Butler Yeats

On 22 September 2023, the Department of English, Samaldas Arts College celebrated 'Talent Gala.' Being a teacher it was my first event with my fellow faculty members Himanshi Parmar Aamena Rangwala Tamsa Pandya Minkal Italiya and Nanditaba and talented students. Here is a brief outline of the event:

We started our program at 10:00 A.M. in Shree Vinayak Pandya Kalabhavan Hall. Anchoring was done by S.Y. students, Bargavi and Ashish. They did well, and though it was their first time to host such an event after a long period in their academic life, they did their best. Then we listened to our chief guest Miss. Vaidehi Haryanvi ma'am. Ma'am highlighted the importance of students' lives during college with some examples. She also talked about the importance of language. Then we listened to our principal sir Jayvantsinh B. Gohil who talked about the importance of literature and language. Sir shared his experience with English subjects during his schooling. After that, we were introduced by our Coordinator,  Keyursir Dasadiya, that we should break the barrier between speaking and expressing ourselves. Then the head of the department Mansukhsir Gaijan highlighted the importance of digital growth and the importance of different languages and cultures across India and within India as well. Sir also talked about the way of living life and now we have Kuiper belt of the limit. We should cultivate such manner of language, matters, and thinking as well. Brijendrasinhsir Jadeja highlighted language, and talking with self, for example, we can send a message to ourselves in WhatsApp. Sir also highlighted what is the difference between Talent and God's gift. Sir also gave such live examples from cricketers as well. Sir remarked that we have to prepare our own dictionary and time and again we have to look upon it to improve such vocabulary skills. 


Then we started our Events at 12:00 p.m. Events like Dance, Tabala performance, Folk songs, Group songs, Stand-up comedy, presentation on Online Earning ideas, singing, speech, painting, resign art, cake making, poetry recitation, etc. Students actively participated in the event. We also awarded students like All Rounder, Chatterbox, Most Sincere student, ets. Students made welcome banquets, cards and batches by themselves. Glad to see that they followed the instructions given by the faculty. The event was quite successful but still some improvement needed. I hope we can do such events in the future for students. Here is a glimpse of the program. Here the list of the students and their events, respectively: 

Dance on Hindi Song 'Aayo re shubh din Aayo re' by FY BA students 
 
Melodious Song Performance Nisarg Parmar (SY BA student) 
 
PowerPoint Presentation on Online Earning Sources bh Brij Mer (FY BA student) 

Duha - Chand Performance by Sanjaydan Gadhvi (SY BA student) 

Shiv Tandav Performance by Prince Chauhan (FY BA student) 
 
Painting and Homemade Cake Making Video Presentation by Krishna (SY BA student) 
 
Gujarati Poem Recitation by Bhargavi Barad (SY BA student) 

 Group Song Performance by Krishna Shiyaal and other FY BA students  

Speech on 'Guru' (Teacher) by Jitu Ahir (SY BA student)
 
Poetry Recitation by Rajyaguru Shital 

Standup Comedy by Bhavik Bariya 

We ended our program by 2:30 p.m, officially. Then students played such games. 

  

Conclusion on Cyberfeminism Approached in Online Games

Name: Divya Sheta

Roll No.:06

Paper Name: Paper 210(A): Research Project Writing:Dissertation Writing

Paper Code no.: 22417

Topic Name: In conclusion on Cyberfeminism Approached in Online Games

Enrollment No.:4069206420210033

Email ID: divyasheta@gmail.com

Batch:2020-23

MA SEM-IV

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


Conclusion on Cyberfeminism Approached in Online Game



Conclusion

Cyberfeminism is the study of Organism plus technology. Cyberfeminism emerged in the 1990s as a response to the lack of women's voices and perspectives in the predominantly male-dominated tech industry. The movement aimed to challenge and subvert traditional gender roles and power structures by utilizing technology as a tool for social change and resistance.

One of the core tenets of cyberfeminism is the recognition that technology is not neutral but rather reflects and reinforces societal biases and power structures. For example, algorithms used in artificial intelligence can perpetuate and amplify gender and racial biases if not designed and programmed with diversity and inclusivity in mind. Cyberfeminists have therefore advocated for greater inclusion of women and other marginalized groups in the development and use of technology.

Cyberfeminists have also sought to celebrate and recognize the contributions of women and other marginalized groups to the tech industry. For example, Ada Lovelace, a 19th-century mathematician, is often credited as the world's first computer programmer for her work on Charles Babbage's Analytical Engine. Yet her contributions were largely forgotten and overlooked until cyberfeminists began to highlight her importance and impact on the tech industry.

Furthermore, cyberfeminists have emphasized the potential of technology as a tool for social change and resistance. They have utilized digital platforms and tools to organize and mobilize for various causes, including reproductive rights, gender equality, and LGBTQ+ rights. For example, the #The MeToo movement gained momentum and support through social media, demonstrating the power of technology in amplifying marginalized voices and sparking social change.

Despite its contributions and achievements, cyberfeminism has faced criticism and challenges. Some critics argue that the movement is too focused on identity politics and overlooks other important issues, such as economic inequality and labor rights in the tech industry. Others argue that cyberfeminism perpetuates a binary and exclusionary view of gender and fails to recognize the diversity and complexity of gender identities.

Nevertheless, cyberfeminism remains a relevant and important movement in today's digital age. As we continue to rely on technology for various aspects of our lives, it is crucial that we engage with the principles and ideas of cyberfeminism to ensure that our technological innovations are inclusive, equitable, and just.

Cyberfeminism is a relatively new approach to feminism that has emerged with the rise of technology and the internet. It seeks to explore the role of women in the cyber world and how technology can be used to empower women and promote gender equality. The concept of cyberfeminism is still evolving, and there are many different perspectives on what it means and how it can be applied in different contexts.

In the context of video games, applying cyberfeminism can be challenging because the gaming industry has historically been male-dominated, and many games perpetuate gender stereotypes and objectify women. However, mobile games offer a unique opportunity to explore cyberfeminism because they are widely accessible and can be played by anyone with a smartphone or tablet.

Mobile games can also be seen as part of the Web 2.0 revolution, which has transformed the internet from a static, one-way medium to a dynamic, interactive space where people can create, share, and collaborate in real-time. This has given rise to a new generation of tech-savvy women who are using social media to showcase their skills, build communities, and promote their businesses.

Despite these positive developments, cyberfeminism remains an important perspective to consider in the tech world because technology itself is not neutral. It reflects the biases and values of the society that created it, and it can perpetuate existing inequalities if not designed and used with care.

Therefore, it is crucial to study cyberfeminism and consider women's perspectives when developing and using technology. This can help ensure that technology is used to promote gender equality and empower women, rather than perpetuating existing biases and inequalities. In this sense, cyberfeminism is an ongoing fundamental theory that can be explored and applied in various contexts, including mobile games.

Gaming culture is a broad field that investigates specialized reading. As Prmod K. Nayar explains, narrative methods can enable players to participate with the plot of the games through a parallel corporeal world that appears to be the player's real reality as he/she enters the Virtual World. Further Nayer explained, the narrative approach to games is a perspective that sees video games as interactive stories that offer players a unique and immersive experience of enacting a narrative. This approach considers games to be narratives that consist of both a story and the telling of the story. In video games, the player's active intervention in the gameworld is what constitutes the telling of the story, as the events that unfold are dependent on their actions and decisions. This is in contrast to a traditional narrative such as a novel, where the narrative exists and follows a sequence independent of the reader.

The narrative structure of video games is typically characterized by a cause-effect and sequential structure, which is shaped by the player's decisions and actions. The choices made by the player within the gameworld determine the outcome of the story, providing a level of interactivity and agency that is unique to video games. Players are not passive recipients of the story, but rather active participants who influence and shape the narrative as it unfolds.

A crucial element of the narratives of digital games is the player's active interaction with the gameworld. Unlike other forms of storytelling, where the reader is merely an observer of the narrative, the player's actions and decisions in video games have a direct impact on the story. This interactivity provides players with a sense of immersion and engagement, enabling them to experience the narrative in a more profound and personal way.

Goddess of Era is a game that features only female characters, but not all of them are portrayed as strong warriors. It is important to recognize that these characters have unique stories that may inspire other female players. The biases in the game's wording, such as the use of "Goddesses" and "Female Warriors," may reinforce gender stereotypes and limit the potential for diverse representation.

It is not necessarily the case that the developer intentionally perpetuates biases in the game. However, the lack of diversity in character portrayal may be limiting and exclusionary. Female

players may not identify with the narrow representation of female characters, which could limit the appeal of the game to a broader audience.

The game has the potential to foster a strong female community. However, this can only happen if the game reflects the experiences of female players and offers them the opportunity to relate to the characters and storylines. This may involve changing the language used to describe female characters, providing a wider range of character types, and offering players the ability to customize their characters to better reflect their identities and experiences.

Ultimately, the success of Goddess of Era as a game and community-building tool will depend on the developer's willingness to listen to and engage with the needs and preferences of female players. By offering a more diverse and inclusive representation of female characters, the game has the potential to become a powerful tool for empowerment and inspiration for female gamers.

Life is Strange is a popular video game that follows the story of Max, a female protagonist with a mysterious power that allows her to rewind time. The game is narrative-driven, meaning that the player's choices affect the story and the outcome of the game. Max's journey through the game is not only focused on completing levels and solving puzzles but also on exploring her personal life and relationships.

As the player progresses through the game, they are given various choices that can affect Max's identity and relationships. This can be a confusing experience for some players, especially when it comes to questions about gender identity. Max's story is woven into the game's narrative smoothly, but it can still lead to questions and confusion among players who may be struggling with their own identity.

In the cyber world, women are still struggling to find their identity and place in society. They are often subjected to discrimination, harassment, and violence, which can have a significant impact on their self-esteem and confidence. Max's story can be seen as a reflection of this struggle, as she is manipulated by other female characters and forced to navigate a world that is dominated by men.

Postmodernist arguments suggest that the narration in Life is Strange is a reflection of how patriarchy uses various tropes and strategies to diminish the value of femininity. The game portrays women as vulnerable and in need of protection, while men are portrayed as strong and dominant. This can reinforce traditional gender roles and perpetuate harmful stereotypes. Life is Strange is a thought-provoking game that raises important questions about identity and gender. While the game's narrative can be confusing at times, it ultimately serves as a powerful reminder of the ongoing struggles that women face in society today.

The concept of cyberfeminism has become increasingly relevant in the digital age, where online games have become an integral part of many people's lives. Through examining selected online games, it is clear that these spaces can be both empowering and oppressive for female players. While some games provide opportunities for female gamers to challenge traditional gender roles and stereotypes, others perpetuate misogyny and sexism.

As such, it is important to approach cyberfeminism in online games with a critical and intersectional lens. Game developers must be held accountable for the ways in which their products perpetuate harmful gender norms, and female gamers must be empowered to speak out against discrimination and advocate for change. Moreover, it is essential that we continue to create and support online spaces that are inclusive and equitable for all gamers, regardless of gender or identity.

Approaching cyberfeminism in selected online games requires a multifaceted approach that addresses both the structural inequalities embedded in these platforms and the lived experiences of female gamers. Only by working together can we create a more just and equitable gaming culture that truly reflects the diverse perspectives and experiences of all players.

Limitations :

The research at hand does not specifically address the topic of marginalized reading or racism, which can be considered as a limitation of the study. While it is important to acknowledge and address issues related to representation and diversity in various forms of media, it can be challenging to cover all aspects within the scope of a single dissertation.

It is important to consider that marginalized reading and racism can be complex and multifaceted topics, requiring in-depth analysis and research to truly understand and address their impact on society. Given the limited space and resources available in dissertation writing, it may not be feasible to explore these issues in detail in the context of new games.

Nonetheless, it is important to recognize the importance of these topics and the need to continue studying and discussing them in various academic and social settings. This can involve examining how representation and inclusion are portrayed in various forms of media, as well as exploring the social and cultural factors that contribute to issues of marginalization and discrimination.

Perhaps it is crucial to keep spreading awareness and encouraging conversation about these concerns in all spheres of society, even though it may not be possible to completely investigate racism and marginalized reading in the context of this particular research.

One of the limitations of the research is the timeframe for studying new games. Due to the constraints of time and resources, the study focuses on games that were released within the past three to five years. While this timeframe may be sufficient for analyzing some aspects of the games, it may not provide enough content to conduct a comprehensive analysis of the games. Analyzing new games can be challenging as there may not be enough user reviews or feedback available to make meaningful conclusions. This may limit the depth and breadth of the analysis that can be conducted on these games.

Despite these limitations, the study can still provide valuable insights into the portrayal of marginalized groups in newer games. By focusing on user reviews and feedback, the study can provide a general sense of how players perceive the representation of marginalized groups in these games. It is important to acknowledge the limitations of the study and to be transparent about the methodology used. By acknowledging these limitations, the study can contribute to a broader understanding of the portrayal of marginalized groups in newer games while also identifying areas for further research and exploration.

Assignment: Paper 209: Research Methodology

Name: Divya Sheta

Roll No.:06

Paper Name: Paper 209: Research Methodology 

Paper Code no.: 22419

Topic Name: Difference between Academic Writing and Non-Academic Writing

Enrollment No.:4069206420210033

Email ID: divyasheta@gmail.com

Batch:2020-23

MA SEM-IV

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



Difference between Academic Writing and Non-Academic Writing


What is Academic Writing?

For a scholarly audience, academic writing is a formal and generally impersonal style of writing. It frequently relies extensively on study, verifiable data, and the viewpoints of knowledgeable academics. Academic writing includes things like research papers, dissertations, and scholarly writings. All of these styles of writing have a set format and structure that includes an introduction, thesis statement, summary of the subjects covered, and a strong conclusion. Academic writing's primary goal is to inform the reader while giving objective information and supporting the writer's arguments with substantial proof.

Additionally, the vocabulary used in academic writing frequently belongs to that particular field. A list of references or sources, together with citations, is a crucial component of academic writing. Additionally, academic writing should always be neutral and formal in tone.


Several Writing Academic Tips

  • Always address formally. Do not use slang or colloquialisms.

  • Avoid using contractions. (shortened verb forms).

  • Avoid using the first-person perspective and instead use the third.

  • Instead of asking questions, turn them into statements.

  • Avoid using hyperbole or exaggeration.

  • Don't generalise in a broad sense.

  • Avoid repetition and be concise and straightforward.


What is Non Academic Writing?

Writing that is not meant for an academic readership is referred to as non academic writing.  They are written with the general public or lay readers in mind. This kind of writing might be subjective, impressionistic, or personal in tone.

Non-academic writing uses informal or colloquial language. Even slang can be used in some non-academic writing styles. Examples of non-academic writing include newspaper articles, autobiographies, magazine articles, personal or business letters, novels, websites, text messages, etc. Unlike academic writing, which primarily concentrates on a particular field, the content of these articles frequently covers a broad range of subjects. A work of non-academic writing's primary goal is to enlighten, amuse, or persuade the audience.


The majority of non-academic texts lack references, citations, and source lists. Additionally, they are not as thoroughly researched as academic writing. Furthermore, compared to academic writing, non-academic writing frequently lacks the same tight framework. It frequently flows freely and exhibits the author's sense of humour and individuality.


What is the Difference Between Academic Writing and Non Academic Writing?


While non-academic writing is informal and frequently subjective and is targeted at the general public, academic writing is a formal, impersonal style of writing that is designed for a scholarly or academic audience. Writing for academic purposes differs from writing for non-academic purposes in a number of ways, including audience, purpose, language, format, and tone. While non-academic writing targets the general audience, academic writing targets academia. Additionally, the major goal of academic writing is to inform the audience using accurate information and strong support. But the goal of academic writing might also be to educate, amuse, or persuade the reader. This is a significant distinction between academic writing and other types of writing.


The style of academic writing and non-academic writing is another distinction. Non-academic writing is personal, impressionistic, emotive, or subjective in nature, whereas academic writing is formal and impersonal. This might be viewed as the primary distinction between academic writing and other types of writing. And while the latter employs informal and casual language, the former uses formal language while avoiding colloquialism and slang. Another significant distinction between academic writing and non-academic writing is the use of citations and sources. Citations and references are a part of academic writing, but they are not typically a part of non-academic writing. Research papers, dissertations, and scholarly articles are some examples of academic writing, whereas newspaper and magazine articles, memoirs, letters, digital media, etc. are instances of non-academic writing.

Academic writing is a unique form of writing that is designed to convey complex information and ideas to a specific audience. The primary audience for academic writing is scholars and researchers in a particular field, such as professors, students, and professionals. The purpose of academic writing is to explore, analyze, and communicate ideas in a clear and concise manner.


Unlike non-academic writing, which is often written for the general public, academic writing is highly formal and objective in its approach. It follows a specific set of guidelines and conventions that are designed to ensure clarity and precision. In academic writing, authors must use evidence to support their arguments and ideas, and must carefully cite their sources in order to avoid plagiarism.


Academic writing also differs from non-academic writing in terms of language and tone. Academic writing often employs technical jargon and specialized terminology that is unique to a particular field. It also tends to be more precise and analytical in its use of language. The tone of academic writing is typically formal and objective, avoiding the use of personal pronouns and emotional language.


The format of academic writing is also highly structured and follows a specific set of conventions. It often includes a clear introduction, a main body, and a conclusion, and may also include sections such as a literature review, methodology, or results. In addition, academic writing typically includes a bibliography or reference list that cites all sources used in the research. Academic writing is a highly specialized and formal form of writing that is designed for a specific audience and purpose. It requires careful attention to detail and adherence to a specific set of guidelines and conventions in order to effectively communicate complex ideas and information. 


Writing that isn't academic or technical is referred to as general writing. In our daily lives, we write in a manner similar to this. All types of writing are written in a generic writing style, including letters, emails, newspaper articles, advertising, posters, and diaries and journals. While proper grammar and spelling are still required in common writing, the standards are less stringent than in academic writing. The usage of slang, contractions, clichés, and other terminology is also not restricted. Academic writing is more complex and difficult to grasp than general writing, which can be colloquial, formal, or semi-formal. Additionally, there is no requirement for formal reference or citation in non-academic writing.

DOs & DON'Ts

In academic writing, the use of pronouns can be a tricky issue. According to Björk, Knight, and Wikborg, the informal choice is to use the pronouns I, us, and you. However, it's important to note that different disciplines may have different preferences when it comes to the use of pronouns. Some may allow their use throughout the text, while others may advise against them, except in the opening and conclusion.


Therefore, it's essential to check the style rules of the discipline or field you are writing in to avoid any confusion or misunderstandings. It's also vital to consult departmental policies at the institution you are affiliated with for guidance. Additionally, reading widely across different academic fields can give you a better understanding of the decisions made by researchers in those fields.


In order to make things clearer, a table of typical DOs and DON'Ts of academic writing at the university level has been provided. However, it's worth noting that these guidelines may vary depending on the writing style and the specific rules of the department or institution. Therefore, it's important to check the specific guidelines provided by your institution or discipline before beginning any writing process

What not to do

 

          What to do

Do not use slang, jargon, colloquialisms, or sexist language.

Use formal language

Do not use shortened verb forms (contractions), such as they're, isn't, can't.

Use the full verb form instead, e.g. they are, is not, cannot

Do not use common vocabulary, such as have got, a lot, nice, the other thing.

Make more formal vocabulary choices, e.g. have found,a great deal , attractive/ advantageous,  the other issue/problem/notion/idea/topic etc..

Do not use conversational opening phrases, such as Well, you see, Yes…, Let's move on.

Leave out conversational phrases. Use appropriate connectors and introductory phrases.

Do not write I think - especially not at the beginning of a sentence, i.e. do not write, for example, I think James (2008) believes that global warming will…

Leave out I think, e.g. James (2008) believes that global warming will…












Works Cited

“Difference Between Academic Writing and General Writing | Features, Choice of Language, Use.” Pediaa.Com, 17 August 2016, https://pediaa.com/difference-between-academic-writing-and-general-writing/. Accessed 30 March 2023.

“DOs & DON'Ts.” Academic Writing in English, https://www.awelu.lu.se/language/register-and-style/dos-donts/. Accessed 30 March 2023.

Youngson, Nick. “Difference Between Academic Writing and Non Academic Writing | Compare the Difference Between Similar Terms.” DifferenceBetween.com, 1 February 2019, https://www.differencebetween.com/difference-between-academic-writing-and-non-academic-writing/. Accessed 30 March 2023.