Dr. Pratham Prakash Parekh
@management.nirmauni.ac.in
Assitant Professor
Nirma University
RESEARCH INTERESTS
Sustainable Development, Sociology, Public Policy, Human Development, Urban Sociology, Migration
Scopus Publications
Scholar Citations
Scholar h-index
Scopus Publications
Pratham Parekh and Bhajan Lal
Emerald Publishing Limited
Pratham Parekh
Emerald Publishing Limited
Pratham Prakash Parekh
IGI Global
Digital revolution experienced by the human race has made great impact on presentation of bodies and self. Observing the (re)presentation of self in the social constructed phenomenon of ‘selfie' through sociological lens opens up gate for variety of conceptual and theoretical perspectives. The study aims to make inquiry in complex interplay among body, technology, and social control reflected in selfie. For this purpose, the study employs Netnography techniques along with thematic analysis under frameworks like dramaturgy, sociosemiotic, and dialectic to explore and describe sociologically relevant theories to grasp novel avenues of social control and (re)presentation of women's bodies through selfie. The chapter intend to develop space for further sociological research that enables the perception of selfies not only as socially constructed phenomenon but also a tool for social control over (re)presentation of self and objectification women bodies in cyberspace.
Pratham Parekh and Mahalaxmi Tiwari
The Electrochemical Society
Bhavai is a unique folk art theatre of Gujarat that originated in 1360 AD. It is believed to be initiated by ‘outcaste’ nomads. Marginalization made this form of theatre to be more satirized against the stigma imposed by the caste system. Instead of protesting exclusion, this art form provided ground for tenacious, long-lasting, and zestful ways of expressing subjective feelings of the marginalized. The study tries to investigate how folk theatres can become a way of expressing resistance and project desired directions for community development. It also traces periodical changes that occurred since the inception of Bhavai. An attempt is made to find out how recent commercialization diluted the original essence of Bhavai. The study sociologically approaches to understand the deterioration of this folk theatre. This form of theatre has now been reduced to the symbolic identity. Efforts of the state community to retain originality to Bhavai can be deleteriously observed. Address SDG No. 16.