DOCSLIB.ORG

Bhima's Struggle Against Class Discrimination In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bhima's Struggle Against Class Discrimination In PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI BHIMA’S STRUGGLE AGAINST CLASS DISCRIMINATION IN THRITY UMRIGAR’S THE SPACE BETWEEN US AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra In English Letters By: ANGELIN ELIZABET BUISWARIN DIAZ Student Number: 094214082 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI BHIMA’S STRUGGLE AGAINST CLASS DISCRIMINATION IN THRITY UMRIGAR’S THE SPACE BETWEEN US AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra In English Letters By: ANGELIN ELIZABET BUISWARIN DIAZ Student Number: 094214082 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI Be JOYFUL in HOPE, PATIENT in AFFLICTION, FAITHFUL in PRAYER. Romans 12:12 vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGMENTS My greatest gratitude goes to Jesus and Mother Marry who have given me strength to accomplish this undergraduate thesis. I would like to thank my parents: Chris Diaz and Caecilia Diaz, my sisters Cindy and Mutia, and also my brother Roberto and Joseph for their support and endless love. They are my real guardian angels. Thank you also my four-leg kids who always accompany do my thesis. To my thesis advisor, Ms. Sri Mulyani, thank you so much for guiding me until I finish this undergraduate thesis. Thank you for the support and advice, it means a lot for me because Ms. Sri still gives me a chance to finish my thesis. Also I would like to thank Ms. Elisabeth Arti Wulandari for giving me advice and chance to finish this final thesis. Especially, I would like to thank Mr. Hirmawan Wijanarka as Head of English Letters Department for giving me chance to finish my undergraduate thesis. I also would like to thank all the lectures in English Letters Department for their guidance and for leading me to achieve my dream. I would like to thank the secretariat staff of English Letters Department, Mbak Ninik, who has helped me a lot with the paper work. For all my friends Puput, Bene, Naomi, Rosita, Anin, Siska, Ovi, MbakLidya, Mbak Bea, and Mov who always support and believe in me thank you so much. I sincerely thank all the people whom I cannot mention one by one and who have given me a hand during the writing of this undergraduate thesis. Angelin Elizabet Buiswarin Diaz viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE …………………………………………………………………….. ii APPROVAL PAGE ……………………………………………………………… iii ACCEPTANCE PAGE ………………………………………………………..... iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH…… v STATEMENT OF ORIGINALITY ……………………………………………… vi MOTTO PAGE ………………………………………………………………….. vii ACKNOWLEDGEMENTS ….……………………………………………………. viii TABLE OF CONTENTS …….…………………………………………………… ix ABSTRACT ….…………………………………………………………………….. x ABSTRAK ………………………………………………………………………… xi CHAPTER I: INTRODUCTION ………………………………………………… 1 A. Background of the Study ….……………………………………………. 1 B. Problem Formulation ….……………………………………………….. 4 C. Objective of the Study ….………………………………………………. 5 D. Definition of Terms ……………………………………………………... 5 CHAPTER II: REVIEW OF LITERATURE ……………………………………… 7 A. Review of Related Studies………………………………………………….. 7 B. Review of Related Theories………………………………………………… 8 1. Theory of Characters…….…………………………………………….. 8 2. Theory of characterization…………………………………...……….. 10 3. Theory of Setting………………………………………………………. 12 4. Theory of Discrimination……………………………………………… 13 C. Review of Socio cultural - Historical Background in India……………….. 14 D. Theoretical Framework…………………………………………………….. 16 CHAPTER III: METHODOLOGY………………………………………………….. 18 A. Object of the Study………………………………………………………… 18 B. Approach of the Study……………………………………………………… 19 C. Method of the Study………………………………………………………… 20 CHAPTER IV: ANALYSIS……………………………………………………………. 21 A. Character of Bhima…………………………………………………………... 21 B. Setting in the Novel…………………………………………………………. 31 1. Seting of Time …………………………………………………………… 31 2. Setting of Place………………………………………………………….. 32 3. Setting of Society………………………………………………………… 36 C. Class Discrimination in Bhima’s Life ……………………………………….. 39 CHAPTER V CONCLUSION…………………………………………………………. 44 BIBLIOGRAPHY……………………………………………………………………….. 46 ix PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Diaz, Angelin Elizabet Buiswarin. Bhima’s Struggle against Class Discrimination in Thrity Umrigar’s The Space between Us. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016. The Space between Us by Thrity Umrigar potrays class discrimination in India. Umrigar is a journalist and creative writing teacher. This is her second novel, set in modern India. In India the class discrimination became a common issue. There was a separation between the upper-middle class and the lower class. The injustice treatment done unto the lower class by those above them. The novel tells about the relationship between servant and her mistress. They have the parallel experiences that connect them, but there is “the space between them”. By the injustice treatment by the higher class, Bhima, the main character struggle for her life and her family to get a better life. In order to reveal the class discrimination, the thesis is concerned in three problems. The first problem is aimed Bhima’s character. The second problem is aimed to the setting and society in Bhima’s life. The last problem is aimed to reveal the class discrimination in India through the characters and setting in the novel. The researcher of the Undergraduate thesis conducts library research to answer those three problem formulation. In this study, the researcher uses socio- cultural historical approach to analyze the novel. The review of historical background in India used to understand the social circumstances in India from the past life and modern era. The result of the analysis shows the class discrimination still exists in India modern era. The setting of society shows the difference class between high class, middle class and low class. Bhima as a low class often get bad treatment by her society. She works in a Parsi’s house. Her mistress, Sera, always treats Bhima well but in some cases she also discriminate Bhima. The characteristics of Bhima make her struggle against the class discrimination. The big case that afflicts Bhima about Maya makes them leaves Dubash family house and try to get a better life together. Keywords: Class, Discrimination x PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Diaz, Angelin Elizabet Buiswarin. Bhima’s Struggle against Class Discrimination in Thrity Umrigar’s The Space between Us. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016. The Space between Us karya Thrity Umrigar adalah kisah yang menggambarkan tentang diskriminasi kelas yang terjadi di India. Umrigar adalah seorang jurnalis dan pengajar menulis kreatif. Novel tersebut adalah karya kedua yang ditulis olehnya, berlatar di era modern India. Di India diskriminasi kelas merupakan persoalan umum. Terdapat jarak di antara kelas atas-menengah dengan kelas bawah. Perlakuan tidak adil terjadi pada kelas bawah yag dilakukan oleh kelas di atasnya. Novel tersebut bercerita tentang sebuah hubungan antara asisten rumah tangga dengan majikannya. Mereka memiliki kesamaan pengalaman- pengalaman yang mengaitkan mereka, tetapi tetap ada “jarak di antara mereka”. olhe perlakuan yang tidak adil yag dilakukan kelas yang lebih tinggi, Bhima, karakter utama berjuang untuk kehidupannya dan keluarganya untuk mendapatkan kehidupan yang lebih baik. Untuk mengungkap diskriminasi kelas, skripsi ini memfokuskan pada tiga permasalahan. Permasalahan yang pertama bertujuan untuk melihat karakter Bhima. Permasalahan yang kedua bertujuan untuk melihat latar dan lingkungan di kehidupan Bhima. Permasalahn yang terakhir bertujuan untuk mengunkap diskriminasi kelas di India melalui karakter dan latar pada novel. Peneliti melakukan penelitian kepustakaan untuk menjawab tiga rumusan masalah. Pada studi ini, peneliti menggunakan pendekatan sosio-kultural historkal untuk menganalisa novel. Ulasan tentang latar belakang sejarah di India digunakan untuk memahami keadaan sosial di India dari masa lampau hingga modern. Hasil dari analisis menunjukkan bahwa diskriminasi kelas masih terjadi di India pada masa modern ini. Latar lingkungan menunjukkan perbedaan kelas antara kelas atas, kelas menengah, dan kelas bawah. Bhima sebagai seorang pada kelas bawah sering mendapatkan perlakuan buruk dari lingkungannya. Dia bekerja pada keluarga Parsi. Majikannya, Sera selalu meperlakukan Bhima dengan baik tetapi pada beberapa hal dia juga mendiskriminasi Bhima. Karakteristik Bhima membuatnya berjuang melawan diskriminasi kelas. Masalah besar yang menimpa Bhima dan Maya membuat mereka meninggakan rumah keluarga Dubash dan mencoba untuk mencari kebahagian mereka bersama. Kata kunci: kelas, diskriminasi xi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI CHAPTER I INTRODUCTION A. Background of the Study People are born equal, they cannot choose to belong to a certain caste. It means that all people should treat others and be treated equally. Unfortunately, discrimination is still found in social life. Harris in Cultural Anthropology states
Load more

Recommended publications
  • The Mahabharata
    ^«/4 •m ^1 m^m^ The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071123131 ) THE MAHABHARATA OF KlUSHNA-DWAIPAYANA VTASA TRANSLATED INTO ENGLISH PROSE. Published and distributed, chiefly gratis, BY PROTSP CHANDRA EOY. BHISHMA PARVA. CALCUTTA i BHiRATA PRESS. No, 1, Raja Gooroo Dass' Stbeet, Beadon Square, 1887. ( The righi of trmsMm is resem^. NOTICE. Having completed the Udyoga Parva I enter the Bhishma. The preparations being completed, the battle must begin. But how dan- gerous is the prospect ahead ? How many of those that were counted on the eve of the terrible conflict lived to see the overthrow of the great Knru captain ? To a KsJtatriya warrior, however, the fiercest in- cidents of battle, instead of being appalling, served only as tests of bravery that opened Heaven's gates to him. It was this belief that supported the most insignificant of combatants fighting on foot when they rushed against Bhishma, presenting their breasts to the celestial weapons shot by him, like insects rushing on a blazing fire. I am not a Kshatriya. The prespect of battle, therefore, cannot be unappalling or welcome to me. On the other hand, I frankly own that it is appall- ing. If I receive support, that support may encourage me. I am no Garuda that I would spurn the strength of number* when battling against difficulties. I am no Arjuna conscious of superhuman energy and aided by Kecava himself so that I may eHcounter any odds.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Introduction to BI-Tagavad-Gita
    TEAcI-tER'S GuidE TO INTROduCTioN TO BI-tAGAVAd-GiTA (DAModAR CLASS) INTROduCTioN TO BHAqAVAd-qiTA Compiled by: Tapasvini devi dasi Hare Krishna Sunday School Program is sponsored by: ISKCON Foundation Contents Chapter Page Introduction 1 1. History ofthe Kuru Dynasty 3 2. Birth ofthe Pandavas 10 3. The Pandavas Move to Hastinapura 16 4. Indraprastha 22 5. Life in Exile 29 6. Preparing for Battle 34 7. Quiz 41 Crossword Puzzle Answer Key 45 Worksheets 46 9ntroduction "Introduction to Bhagavad Gita" is a session that deals with the history ofthe Pandavas. It is not meant to be a study ofthe Mahabharat. That could be studied for an entire year or more. This booklet is limited to the important events which led up to the battle ofKurlLkshetra. We speak often in our classes ofKrishna and the Bhagavad Gita and the Battle ofKurukshetra. But for the new student, or student llnfamiliar with the history ofthe Pandavas, these topics don't have much significance ifthey fail to understand the reasons behind the Bhagavad Gita being spoken (on a battlefield, yet!). This session will provide the background needed for children to go on to explore the teachulgs ofBhagavad Gita. You may have a classroonl filled with childrel1 who know these events well. Or you may have a class who has never heard ofthe Pandavas. You will likely have some ofeach. The way you teach your class should be determined from what the children already know. Students familiar with Mahabharat can absorb many more details and adventures. Young children and children new to the subject should learn the basics well.
    [Show full text]
  • The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
    The Mahabharata of Krishna-Dwaipayana Vyasa SALYA PARVA translated by Kesari Mohan Ganguli In parentheses Publications Sanskrit Series Cambridge, Ontario 2002 Salya Parva Section I Om! Having bowed down unto Narayana and Nara, the most exalted of male beings, and the goddess Saraswati, must the word Jaya be uttered. Janamejaya said, “After Karna had thus been slain in battle by Savyasachin, what did the small (unslaughtered) remnant of the Kauravas do, O regenerate one? Beholding the army of the Pandavas swelling with might and energy, what behaviour did the Kuru prince Suyodhana adopt towards the Pandavas, thinking it suitable to the hour? I desire to hear all this. Tell me, O foremost of regenerate ones, I am never satiated with listening to the grand feats of my ancestors.” Vaisampayana said, “After the fall of Karna, O king, Dhritarashtra’s son Suyodhana was plunged deep into an ocean of grief and saw despair on every side. Indulging in incessant lamentations, saying, ‘Alas, oh Karna! Alas, oh Karna!’ he proceeded with great difficulty to his camp, accompanied by the unslaughtered remnant of the kings on his side. Thinking of the slaughter of the Suta’s son, he could not obtain peace of mind, though comforted by those kings with excellent reasons inculcated by the scriptures. Regarding destiny and necessity to be all- powerful, the Kuru king firmly resolved on battle. Having duly made Salya the generalissimo of his forces, that bull among kings, O monarch, proceeded for battle, accompanied by that unslaughtered remnant of his forces. Then, O chief of Bharata’s race, a terrible battle took place between the troops of the Kurus and those of the Pandavas, resembling that between the gods and the Asuras.
    [Show full text]
  • The Portrayal of the Slowly Depleting Parsi Community in Thrity Umrigar's
    © 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) The Portrayal of the slowly depleting Parsi community in Thrity Umrigar’s The Bombay Time. 1Dr.Sagaya Sophia M, 2 Daryl Cressida G 1Assistant Professor, 2Ph.D Scholar (English) 1English, 1 PG and Research Department of English, Government Arts and Science College for women, Pudukottai. Abstract: The present research portrays the depleting parsi community and their struggle for survival. This novel taken for analysis is a clear representation of the fragmented childhood of Thrity Umrigar a parsi writer. Since it is her debut novel, it is only fitting for her to write about her roots, her childhood and her community. The writing is fragmented just like any diasporic writer, but Thrity umrigar has woven each character and their lives so intricately through their middle class housing complex, childhood and their community. This common blanket that brings all the characters of this novel together. The title of the book itself signifies reminiscences of the old time it refers to Bombay as Bombay and not Mumbai as it is referred now by the millennials. The characters all talk about Bombay and they all delve into the past and take a walk on memory lane. They all talk about how they were, their ideologies, their dreams their pasts and everything. Thrity Umrigar in her novel The Bombay Time, she takes us on a walk through memory lane or to be exact a walk through her fragmented childhood. But she has weaved her characters beautifully and it is exactly like a walk through memory lane a lot of detail has been given to each character and each character is beautifully woven about how their lives and the community has played a huge role and a safe haven for the parsi community, the depletion of their community is shown through the characters themselves, some go abroad and marry outside of their community, not only community but nationality too, like Rusi’s daughter Binny.
    [Show full text]
  • Dave Matthews Makes an Everyday Aibum Kate Estwing Matthews' Exhaustive Touring Schedule Staffwriter and Barely Seeing His Wife
    4 • Augustana Observer» Friday, March 16, 2001 Dave Matthews makes an everyday aibum Kate Estwing Matthews' exhaustive touring schedule StaffWriter and barely seeing his wife. The second batch of songs, written with Ballard, are apparently more uplifting. hree years have gone by since Dave There are amiable moments in the Matthews Bands last álbum, álbum, it just takes a while to find them. TBefore These Crowded Streets, was For example, "Sleep to Dream" and released. In the meantime, the five tal- "Everyday," both toward the end of the ented musicians from Charlottesville, álbum, most resemble Dave Matthews Virgínia, have packed huge arenas Band's past work. Everyday a "Sleep to across the U.S. and further developed Dream" has cooing lyrics and wistful their following of "Daveheads" (similar acoustic guitar similar to "Crash," and to Deadheads and Phish-heads). From the title track "Everyday" reminisces the these bootleg-crazy fans to those of us upbeat, gospel feel of "Stay." "Mother who were losing fait!i in the possibility Father" is good, but dated—it features of new material, we've ali been hoping Carlos Santana on the guitar, and would for their new álbum, Everyday. have worked better on Santanas collab- With the release of the band's first orative álbum, Supernatural. Small bits single, "I Did It," hope became worry. of songs on Everyday, like the chorus of While listening to the single's successive "The Space Between," can get stuck in tracks on the álbum, "When the World your head like any pop song can, but it Ends" and "The Space Between," worry lacks the emotional power to reel the lis- then became desperation.
    [Show full text]
  • Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
    Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes.
    [Show full text]
  • How Female Musicians Are Treated Differently in Music
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music Meggan Jordan University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Jordan, Meggan, "10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music" (2006). Electronic Theses and Dissertations, 2004-2019. 946. https://stars.library.ucf.edu/etd/946 10X THE TALENT = 1/3 OF THE CREDIT HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC by MEGGAN M. JORDAN B.A. University of Central Florida, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Meggan M. Jordan ii ABSTRACT This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender.
    [Show full text]
  • WILLIE DOHERTY B
    WILLIE DOHERTY b. 1959, Derry, Northern Ireland Lives and works in Derry EDUCATION 1978-81 BA Hons Degree in Sculpture, Ulster Polytechnic, York Street 1977-78 Foundation Course, Ulster Polytechnic, Jordanstown FORTHCOMING & CURRENT EXHIBITIONS 2020 ENDLESS, Kerlin Gallery, online viewing room, (27 May - 16 June 2020), (solo) SOLO EXHIBITIONS 2018 Remains, Regional Cultural Centre, Letterkenny, Ireland Inquieta, Galeria Moises Perez de Albeniz, Madrid, Spain 2017 Galerie Peter Kilchmann, Zurich, Switzerland Remains, Art Sonje Center, Seoul, South Korea No Return, Alexander and Bonin, New York, USA Loose Ends, Matt’s Gallery, London, UK 2016 Passage, Alexander and Bonin, New York Lydney Park Estate, Gloucestershire, presented by Matt’s Gallery + BLACKROCK Loose Ends, Regional Centre, Letterkenny; Kerlin Gallery, Dublin, Ireland Home, Villa Merkel, Germany 2015 Again and Again, Fundaçao Calouste Gulbenkian, CAM, Lisbon Panopticon, Utah Museum of Contemporary Art (UMOCA), Salt Lake City 2014 The Amnesiac and other recent video and photographic works, Alexander and Bonin, New York, USA UNSEEN, Museum De Pont, Tilburg The Amnesiac, Galería Moisés Pérez de Albéniz, Madrid REMAINS, Kerlin Gallery, Dublin 2013 UNSEEN, City Factory Gallery, Derry Secretion, Neue Galerie, Museumslandschaft Hessen Kassel Secretion, The Annex, IMMA, Dublin Without Trace, Galerie Peter Kilchmann, Zurich 2012 Secretion, Statens Museum for Kunst, National Gallery of Denmark, Copenhagen LAPSE, Kerlin Gallery, Dublin Photo/text/85/92, Matts Gallery, London One Place Twice,
    [Show full text]
  • 1 Duryodhana Repatriation Ceremony Prepared Remarks for U.S
    Duryodhana Repatriation Ceremony Prepared Remarks for U.S. Attorney Preet Bharara May 7, 2014 Good afternoon. My name is Preet Bharara, and I am the U.S. Attorney for the Southern District of New York. I want to extend a warm welcome to Your Excellency Deputy Prime Minister Sok An and the delegation from the Kingdom of Cambodia, Special-Agent-in-Charge Hayes, Mr. Papagiannis, Mr. Bourdonneau and distinguished guests. Today, we are here for a happy event, and I am so pleased to preside at this ceremony to commemorate the return to the Kingdom of Cambodia of a precious piece of art that was sculpted more than a millennium ago. That piece of art is the Duryodhana – a 10th Century sandstone sculpture that was looted from a famous Cambodian temple more than 40 years ago. Before I go any further, let me explain some of the displays: As you enter our library, you see display cases with photos and drawings prepared by the EFEO depicting the Prasat Chen temple in the 10th Century and today. You also see, as you enter, an exhibition prepared by UNESCO which describes the 1970 UNESCO convention on the means of prohibiting and preventing the illicit import, export and transfer of ownership of cultural property. This exhibition describes the importance of the Koh Ker archaeological site, the Prasat Chen Temple and the Duryodhana. You will also see 3-D diagrams depicting the Prasat Chen temple as it stood in the 10th Century and photographs of the temple ruins today. Finally, you have seen on the screen a short video prepared by EFEO depicting Prasat Chen and its statues.
    [Show full text]
  • Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.998 (IIFS)
    Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.998 (IIFS) DELINEATING SOCIAL CONFLICTS THROUGH INTERNAL DISCOURSE AND LITERARY ANALYSIS OF THE WHITE TIGER AND THE SPACE BETWEEN US Yogesh Kumar Negi ResearchScholar Department of comparative Literature, School of Languages, Literature and Culture, Central University of Punjab, Punjab (India) 151001 Abstract The significance of each piece of literature more or less depends upon literary techniques or elements used by the author which create an aesthetic sense as well as convey the author's message more efficiently. This study therefore is based upon the texts The White Tiger (2008)and The Space Between Us (2006)in which Aravind Adiga and Thrity Umrigar respectively have presented many socio-economic conflicts and political injustices through the different practice of language,satires,humour, metaphors, imagery and so on and so forth. The protagonists belong to lower classstriving for identity where an attempt is made to set a contrast between two protagonists where one essentialise himself and actualizes his existence in capitalistic society but the other one suffers a lot andalienate from herself, family and from society. Key words: Socio-political conflicts, political injustices, satire, symbol, metaphor, imagery, strategic essentialism Literature is a tool by which the socio-political, environmental and economic conditions of the society have discoursed. In contemporary period, literature has broadened its domain where all kinds of texts contain the reference from each other.Julia Kristeva opined that the “importance of text’s structure is matched by its structuration” (qtd. in Childs and Fowler 123).
    [Show full text]
  • UCLA Historical Journal
    The Ambiguity of the Historical Position of Hindu Women in India: Sita, Draupadi and the Laws of Manu Sangeeta R. Gupta ^^^^'^ HE CURRENT' SUBORDINATE POSITION of Indian women in social, m legal and cultural realms is claimed by fundamentalists to be based on Jim Hindu tradition and supported by religious scriptures. Centuries-old gender roles' for women are depicted as Hindu traditions which need to be protected. Those contesting these views are condemned as attacking Hinduism itself. This article will examine the historical and scriptural basis, if any, of these submissive female gender roles and vvall provide arguments against their current traditional interpretation. While these roles do have historical roots in the Hindu culture, the scriptural "validation" is a political and social tool used by funda- mentalist forces through the ages to justify and perpetuate the oppression of Hindu women. I wall further argue that the religious scriptures themselves are open to several interpretations, but only those that perpetuate the patriarchal^ concept of the "ideal" Hindu woman have been espoused by the majority of the Brahamanical class. This article will deconstruct female gender roles through a careful examination of specific characters in the Hindu epics, the Ramayana and the Mahabharatha, to illustrate an alternate and perhaps more complete picture of the position of women. The Laws of Manu,^ which are frequently quoted by fundamentalists, brahmin priests and others to justify the submissive role ofwomen as "natural," will also be examined to present a more comprehen- sive picture. Religious and cultural norms in India are interwoven and, as such, have a tremendous impact on the daily lives' of both women and men.
    [Show full text]