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Purpose: The study aims to focus to ascertain the consequence of corporate management and different firms' characteristics on environmental sustainability. Design/methodology/approach: The sample includes 78 non-financial NSE 100 listed companies from 2010 to 2020. Here, the static and Arellano–Bond dynamic panel data model is considered to determine the effect of corporate governance mechanisms and different firms' characteristics on environmental performance. Findings: The empirical findings of this study indicate that board size is negatively related with environmental sustainability. Similarly a positive influence of age, size and market-based financial performance can be seen on sustainability of the firm. Originality/value: The present study takes an initiative to determine endogeneity and the dynamism effect of corporate governance factors and specific firms' characteristics on environmental sustainability from an emergent nation. [ABSTRACT FROM AUTHOR]

Angela Carter, the postmodernist British writer, is known for her novels and short stories, many of which present popular literary folk and fairy tales from a fresh perspective, using forceful, evocative imagery, and striking diction. In The Bloody Chamber and Other Short Stories, Carter (1979a) rewrites the tales of Red Riding Hood, Sleeping Beauty, and Bluebeard, and reshapes the original plots to engender unusual and startling endings. Fantasy is a literature of desire, which expresses unfulfilled dreams and represents what one wants and does not have. However, Carter's stories, which are modern adaptations of popular tales, are meant not for children but for mature readers. Sex and violence form the pivot of their plot structure, and they include explicit and shocking descriptions of the male and the female bodies and bodily functions. Carter subverts the binary categories of masculinity and femininity as her female protagonists struggle for freedom from male authority and power, and emerge stronger and more compelling than their male counterparts. Carter's narratives present women-centered plots and employ strategies like irony, satire, juxtaposition, and allusion to create a distinct nonconformist voice. This paper discusses the questioning of patriarchal narration in Carter's stories, using the formalistic approach to examine the plot structure, character portrayal, and narrative devices in her fiction. [ABSTRACT FROM AUTHOR]

Stories organize and transmit human events and experiences into meaningful units and suggest an intricate relationship between the past, present and future. A story is a work of fiction that is usually written in prose, often in narrative form. Short stories are highly suggestive since they are restricted to a certain length and tend to be less complex than novels. They foster a sense of right and wrong in the reader and have the power to influence the complete personality of an individual. During the mid-twentieth century, Angela Carter (1940-92) emerged as a staunchly feminist writer who gave a voice to women who had traditionally been assigned a secondary position in the patriarchal society. Many of Carter's stories focus on female protagonists and their conflict with the patriarchal culture and ideologies. The present paper focuses on two stories of Carter: "The Fall River Axe Murders" and "Lizzie's Tiger." The story "The Fall River Axe Murders" highlights the historical figure of Lizzie Borden (1860-1927), who was charged with murdering her parents in 1892. Lizzie was a controversial figure, as the fact that she had committed the murders had not been proved, and since then people have speculated about the incident. The second story "Lizzie's Tiger" describes the earlier days of Lizzie's life. The story is a fictional piece and centres on a day when Lizzie was a child. The events portrayed in this story help the readers to correlate the younger Lizzie with the older one. The paper discusses Carter's use of historiographic metafiction in these stories as a tool for retelling Lizzie Borden's past. Through these stories the writer brings the character of Lizzie Borden back to life, and recreates the situations, the setting, and the surrounding milieu which influenced Lizzie and directed her choices. [ABSTRACT FROM AUTHOR]