DOCSLIB.ORG

Difference and Subversion: Ecriture Feminine and Arundhuti Roy's the God of Small Things

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Difference and Subversion: Ecriture Feminine and Arundhuti Roy's the God of Small Things Arundhati Roy’s The God of Small Things: A Revelation of Feminine Perspectives Dr. Ashok K. Saini, Ph.D. Assist. Professor of English, Department of English Language & Literature Prince Sattam Bin Abdul Aziz University Kingdom of Saudi Arabia (About Author-Dr. Ashok K. Saini is one of faculties in the department of English Language & Literature, Prince Sattam Bin Abdul Aziz University, Kingdom of Saudi Arabia. He reached the pinnacles of glory in his academic career when he was awarded the scholarship funded by the U.S. Department of State, Bureau of Education and Cultural Affairs, for E- Teacher Scholarship Program to English teaching professionals abroad through Linguistics Department, American English Institute, University of Oregon USA. He has been member of board of examiners to adjudicate the Ph.D. thesis of various Universities. He has worked at SIET Gangoh (Now Shobhit University) & IMS Engineering College Ghaziabad as faculty in English. He has worked as English coordinator at State Council of Educational Research & Training Uttarakhand. He has published numerous dozens articles and research papers in different National and International journals. He has also dozens of books to his credit published both in India and abroad. He has been thoroughly associated with Indian Journal of Comparative Literature & Translation Studies: An International Journal of Literature, Culture & Translation, and A Peer-Reviewed International Journal of Education, Psychology and Social Sciences, as member board of editors, published in Zilina, Slovakia.) Abstract Feminist scholars argue that disparity in writing is one of their chief means to cross-examine patriarchal ascendancy. The God of Small Things reveals the human race of Ayemenem house as full of such contraventions, both in terms of ethics as well as proceedings. Ammu and Rahel both challenges the ideals made obligatory on their very being and finds their own ways to reside. Both of them marry without the blessing of their relatives and go for divorce audaciously. Arundhati Roy in the novel has tried to critique and subvert even the www.ijellh.com 393 behavioural code and matrix of strict gendered roles. In The God of Small Things Arundhati Roy reveals the very essence of Ecriture feminine. She has revealed in an apt manner how times gone by and customs always suppresses women over their right to themselves. She has refined a place for the woman by subverting linear discourse and Phallogocentric closure. Key Words Ecriture Feminine, Feminine Perspectives, Feminine Writing, Marginalization, Women‟s Identity Introduction As women are deprived of their semantic liberty, the very act of writing reveals the possibility for a critique of language as well as patriarchal discussion. In the course of writing, women could establish their arrangement and uniqueness. Consequently, the momentous inquiry that writing poses: How is a woman‟s writing different from male writing? And what constitutes the difference? Feminist intellectuals argue that diversity in writing is one of their chief means to cross-examine patriarchal domination. The French feminist theorists like, Cixous, Irigaray and Kristeva, argue that women‟s language and writing are unlike textually, psychologically, linguistically and stylistically. According to Ellmann, the feminine thought and writing exhibit a rashness, daring, mockery, sudden alteration of the reckless and sly, the wildly voluble and laconic, and the capacity to undercut the established masculine mode (Mary Eagleton, 1991, 1996: 285). But critics like Mary Jacobus warn against the incipient biologism of the category “women‟s writing,” but admits that it is „strategically and politically important…‟ (Mary Eagleton, 1991, 1996: 300). Ecriture feminine is a practice of writing where the dichotomies of inside / outside, subject / object and masculine / feminine get altered. She reveals: “Write yourself. Your body must be heard. Only then will the immense resources of the unconscious spring forth” (“The Laugh of the Medusa,” Warhol & Herndl, 1997: 350). Critiquing the binary where the feminine is considered as lack, Irigaray seeks the likelihood of operating within the existing composition. She reveals that the feminine sexuality is marked by diversity and profusion and that it outlines women‟s writing. Arundhati Roy‟s The God of Small Things reveals a specimen of Ecriture Feminine in the sense that it is potentially rebellious. Roy has transformed not only the subject matter but the way of producing meaning in her novel too. The God of Small Things reveals the world of the Ayemenem house as full of such contravention, both in terms of principles as well as dealings. Ammu and Rahel both face up to the ethics forced on their very being and finds their own ways to exist. Both of them get www.ijellh.com 394 married with no the approval of their family and go for separation intrepidly. Baby Kochamma‟s reconstruction, “which in a young girl in those days was considered as bad as a physical deformity” (Roy, 1997: 24), her joining the convent and finally return to Ayemenem, all these reveal a woman‟s own endeavour to find her own ways. Cixous in her “The Laugh of the Medusa” says, “No; it‟s up to you to break the old circuits. It will be up to man and woman to render obsolete the former relationship and all its consequences, to consider the launching of a brand-new subject, alive, with defamiliarization” (Warhol and Herndl, 1997 : 359). Arundhati Roy in The God of Small Things has revealed the behavioural code and matrix of strict gendered roles. Roy goes on to critique even the institution of Christianity as it ignores the bodily realities of women. She reveals, “In the Christian institution, breasts were not acknowledged. They weren‟t supposed to exist, and if they didn‟t could they hurt?” (Roy, 1997:16). The God of Small Things comes close to Ecriture feminine in its narrative pattern. The novel makes a to and fro movement. It goes back to twenty three years and the world is shown through the eyes of Rahel, the eight years old girl. All over again it flits forth to the morbid present where the life is presented as decayed and gloomy. The narrative breaks the linear logic of male discourse in the sense that the plot does not move forward in a chronological way. This is what Cixous expresses about the woman writer as “Her writing can only keep going, without inscribing or discerning contours…” (“The Laugh of the Medusa”, Warhol and Herndl, 358). The description is characterized by short of self-possession, mutability; amusements, long- windedness and the deficiency of form. Helene Cixous considers this as an important trait of women‟s writing because, according to her, the womanly textual body is recognized by its absence of closing stages or termination. Arundhati Roy in The God of Small Things has multiple texts that do not have a finite meaning. It allows itself open to various interpretations making itself extremely intertextual. In a way it goes with the post modernist premises. Stressing on women‟s polyphony, boundlessness, Irigaray opines, “Because we are always open, the horizon will never be circumscribed. Stretching out, never ceasing to unfold ourselves, we must invent so many different voices to speak all of „us‟, including our cracks and faults, that forever won‟t be enough time” (Irigaray, 1980:75). Velutha, Rahel and Estha, fit in to this marginalized category in the family or the public. Arundhati Roy in The God of Small Things tries to upend their nonconformity by revealing very minutely their lives, wishes, emotions which finally culminated in passion or despair. Their marginalized history makes a rupture to the chronological history. In the words of www.ijellh.com 395 Murari Prasad, “Roy‟s text suggests a connection between its narrative strategies and the oppressive fetters, the socio-historical realities that the protagonists have to contend with. Velutha‟s identity is circumscribed by calcified social segregation; Ammu‟s subjugation is conditioned by the traditional male authority… The textual strategy, a privileged component of The God of Small Things, undercuts the dominant cultural paradigm which the narrative circulates as the weight of History against fragile threads of deviation and independence” (Prasad, 2006:160). The description is put in such an approach that the borders of the body, of subjectivity, of the text, are all put into question, where the distinction between inside and out becomes as fluid as the „Dizygotic‟ twins, Estha and Rahel. “…when life was full of Beginnings and no Ends, and Everything was For Ever, Esthappen and Rahel thought of themselves together as Me, and separately, individually, as We or Us” (Roy, 1997 : 2). Arundhati Roy in The God of Small Things has dealt with the politics of love and desire and the transgressions by a variety of characters all the way through the novels. She reveals the Law and Lawlessness and the transgressions. The act of desiring that leads to the rebellion and transgressions in the novel has been narrated in various ways. Rahel observes, “Perhaps Ammu, Estha and she were the worst transgressors. But it wasn‟t just them. It was the others too. They all broke the rules. They all crossed into forbidden territory. They all tampered with the laws that lay down who should be loved and how. And how much... It was a time when the unthinkable became thinkable and the impossible really happened” (Roy, 1997:31). In the words of Brinda Bose, “All histories, as we all know now, are retold in various tellings. There is no one story that endures; who tells the tale and who listens is almost as important as who broke the Laws in the first place. However, Roy wants to take us back to that particular time when the Laws were made- a Time that pre-dates all the histories she knows and will re-tell” (Prasad, 2006:95).
Load more

Recommended publications
  • 246 Lavinia TACHE Faculty of Letters, University Of
    Lavinia TACHE Faculty of Letters, University of Bucharest Bucharest, Romania [email protected] OBJECTS RECONFIGURING THE PRESENT AND THE PRESENCE. ROUTES OF DISPLACEMENT FOR HUMANS: YOKO OGAWA, HAN KANG, OLGA TOKARCZUK Recommended Citation: Tache, Lavinia. “Objects Reconfiguring the Present and the Presence. Routes of Displacement for Humans: Yoko Ogawa, Han Kang, Olga Tokarczuk.” Metacritic Journal for Comparative Studies and Theory 7.1 (2021): https://doi.org/10.24193/mjcst.2021.11.15 Abstract: The materiality of the human body is to be understood in a complementary relation with the objects that produce an extension of life and the privation of it. The Memory Police (Yoko Ogawa) and Human Acts (Han Kang) reassemble the past through the instrumentalization of objects, thus creating life in the present. The question that arises is whether this certain present can preserve the integrity of the human. Flights by Olga Tokarczuk suggests the body as a locus of conversion and tackles contemporary interests regarding plastic, for instance. These texts authored by Ogawa, Kang and Tokarczuk allow for a repositioning of the standpoint from which the consequences of subject-object relation are approached in literature, because they tap into human experience by addressing the essentiality of objects as repositories of memories. The essay attempts to analyse how objects having either a beneficial or a lethal meaning can be seen as deeply encapsulated in human existence. Keywords: memory, object-oriented theory, subject, bodies, trauma Three realities – objects for a decontextualized humanity Echoing dystopian versions of worlds about the reconfiguration of humanity, both Han Kang and Yoko Ogawa explore the idea that an object may have wide-ranging interpretations.
    [Show full text]
  • Marlon James Volume 26 Number 2 November 2018
    Vol. 26 / No. 2 / November 2018 Special Issue Marlon James Volume 26 Number 2 November 2018 Published by the Departments of Literatures in English, University of the West Indies CREDITS Original image: Sugar Daddy #2 by Leasho Johnson Nadia Huggins (graphic designer) JWIL is published with the financial support of the Departments of Literatures in English of The University of the West Indies Enquiries should be sent to THE EDITORS Journal of West Indian Literature Department of Literatures in English, UWI Mona Kingston 7, JAMAICA, W.I. Tel. (876) 927-2217; Fax (876) 970-4232 e-mail: [email protected] Copyright © 2018 Journal of West Indian Literature ISSN (online): 2414-3030 EDITORIAL COMMITTEE Evelyn O’Callaghan (Editor in Chief) Michael A. Bucknor (Senior Editor) Lisa Outar (Senior Editor) Glyne Griffith Rachel L. Mordecai Kevin Adonis Browne BOOK REVIEW EDITOR Antonia MacDonald EDITORIAL BOARD Edward Baugh Victor Chang Alison Donnell Mark McWatt Maureen Warner-Lewis EDITORIAL ADVISORY BOARD Laurence A. Breiner Rhonda Cobham-Sander Daniel Coleman Anne Collett Raphael Dalleo Denise deCaires Narain Curdella Forbes Aaron Kamugisha Geraldine Skeete Faith Smith Emily Taylor THE JOURNAL OF WEST INDIAN LITERATURE has been published twice-yearly by the Departments of Literatures in English of the University of the West Indies since October 1986. JWIL originated at the same time as the first annual conference on West Indian Literature, the brainchild of Edward Baugh, Mervyn Morris and Mark McWatt. It reflects the continued commitment of those who followed their lead to provide a forum in the region for the dissemination and discussion of our literary culture.
    [Show full text]
  • The Unquiet Dead: Race and Violence in the “Post-Racial” United States
    The Unquiet Dead: Race and Violence in the “Post-Racial” United States J.E. Jed Murr A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Dr. Eva Cherniavsky, Chair Dr. Habiba Ibrahim Dr. Chandan Reddy Program Authorized to Offer Degree: English ©Copyright 2014 J.E. Jed Murr University of Washington Abstract The Unquiet Dead: Race and Violence in the “Post-Racial” United States J.E. Jed Murr Chair of the Supervisory Committee: Professor Eva Cherniavksy English This dissertation project investigates some of the ways histories of racial violence work to (de)form dominant and oppositional forms of common sense in the allegedly “post-racial” United States. Centering “culture” as a terrain of contestation over common sense racial meaning, The Unquiet Dead focuses in particular on popular cultural repertoires of narrative, visual, and sonic enunciation to read how histories of racialized and gendered violence circulate, (dis)appear, and congeal in and as “common sense” in a period in which the uneven dispensation of value and violence afforded different bodies is purported to no longer break down along the same old racial lines. Much of the project is grounded in particular in the emergent cultural politics of race of the early to mid-1990s, a period I understand as the beginnings of the US “post-racial moment.” The ongoing, though deeply and contested and contradictory, “post-racial moment” is one in which the socio-cultural valorization of racial categories in their articulations to other modalities of difference and oppression is alleged to have undergone significant transformation such that, among other things, processes of racialization are understood as decisively delinked from racial violence.
    [Show full text]
  • Locating VS Naipaul
    V.S. Naipaul Homelessness and Exiled Identity Roshan Cader 12461997 Supervisors: Professor Dirk Klopper and Dr. Ashraf Jamal November 2008 Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts (English) at the University of Stellenbosch Declaration I, Roshan Cader, hereby declare that the work contained in this research assignment/thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………….. Date:…………………………….. 2 Abstract Thinking through notions of homelessness and exile, this study aims to explore how V.S. Naipaul engages with questions of the construction of self and the world after empire, as represented in four key texts: The Mimic Men, A Bend in the River, The Enigma of Arrival and A Way in the World. These texts not only map the mobility of the writer traversing vast geographical and cultural terrains as a testament to his nomadic existence, but also follow the writer’s experimentation with the novel genre. Drawing on postcolonial theory, modernist literary poetics, and aspects of critical and postmodern theory, this study illuminates the position of the migrant figure in a liminal space, a space that unsettles the authorising claims of Enlightenment thought and disrupts teleological narrative structures and coherent, homogenous constructions of the self. What emerges is the contiguity of the postcolonial, the modern and the modernist subject. This study engages with the concepts of “double consciousness” and “entanglements” to foreground the complex web and often conflicting temporalities, discourses and cultural assemblages affecting postcolonial subjectivities and unsettling narratives of origin and authenticity.
    [Show full text]
  • J. M. Coetzee and the Paradox of Postcolonial Authorship
    J. M. Coetzee and the Paradox of Postcolonial Authorship Jane Poyner J. M. COETZEE AND THE PARADOX OF POSTCOLONIAL AUTHORSHIP For Mehdi and my mother J. M. Coetzee and the Paradox of Postcolonial Authorship JANE POYNER University of Exeter, UK © Jane Poyner 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Jane Poyner has asserted her right under the Copyright, Designs and Patents Act, 1988, to EHLGHQWL¿HGDVWKHDXWKRURIWKLVZRUN Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA www.ashgate.com British Library Cataloguing in Publication Data Poyner, Jane. J. M. Coetzee and the paradox of postcolonial authorship. 1. Coetzee, J. M., 1940– – Criticism and interpretation. 2. Postcolonialism in literature. 3. Politics and literature – South Africa – History – 20th century. 4. South Africa – In literature. I. Title 823.9’14–dc22 Library of Congress Cataloging-in-Publication Data Poyner, Jane. J. M. Coetzee and the paradox of postcolonial authorship / Jane Poyner. p. cm. Includes bibliographical references and index. ,6%1 DONSDSHU 1. Coetzee, J. M., 1940 – Criticism and interpretation. 2. Coetzee, J. M., 1940 – Characters – Authors. 3. Authorship in literature. 4. Postcolonialism in literature. 5. South Africa – In
    [Show full text]
  • The Therapy of Humiliation: Towards an Ethics of Humility in the Works of J.M. Coetzee
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2011 The Therapy of Humiliation: Towards an Ethics of Humility in the works of J.M. Coetzee Ajitpaul Singh Mangat [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Continental Philosophy Commons, Literature in English, Anglophone outside British Isles and North America Commons, Other Psychiatry and Psychology Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Mangat, Ajitpaul Singh, "The Therapy of Humiliation: Towards an Ethics of Humility in the works of J.M. Coetzee. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/896 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Ajitpaul Singh Mangat entitled "The Therapy of Humiliation: Towards an Ethics of Humility in the works of J.M. Coetzee." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Allen Dunn, Major Professor We have read this thesis and recommend its acceptance: Urmila Seshagiri, Amy Elias Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Ajitpaul Singh Mangat entitled “The Therapy of Humiliation: Towards an Ethics of Humility in the works of J.M.
    [Show full text]
  • Michael Ondaatje's Athe English Patient"
    Vosi-Apocalyptic War Histories: Michael Ondaatje's aThe English Patient" JOSEF PESCH THE TRADITION of apocalyptic writing in the US is well documented,1 only a few critics have tried to identify aspects of this tradition in Canadian literature.'2 This may be because there is no equivalent in Canada to the apocalyptic expectations on which the US was founded, and thus a literature which reflected such expectations and their disappointment was never written.3 In the latter half of the twentieth century, apocalyptic writing has become popular to a point at which "apocalypse" has lost all its original religious revelatory meaning. It has become a synonym for total destruction, annihilation, and nuclear end of the world. In the often sensationalist novels of this genre, nuclear apoca• lypse merely serves as a useful structural device for generating tension and suspense, in order to produce a teleologically ori• ented, linear development of plot and action as well as a dramati• cally effective, climactic closure. Just a few postnuclear war novels, classics like Russell Hoban's Riddley Walker or Walter M. Miller's A Canticle for Leibowitz (cf. Dowling), have ventured be• yond such structural simplicity. It seems as if it has been forgotten that the biblical apocalypse, as recorded in "The Revelation of St. John," is not just a vision of destruction and end of the world. Here, beginning and end coincide, and a New Jerusalem and new life are promised to the happy few. There is a time after the end, even if that "time" is paradoxically suspended in timeless eternity.
    [Show full text]
  • ABSTRACT LIN, MICHELLE- "Only the Blind Are Free": Sight and Blindness in Margaret Atwood's the Blind Assassin
    ABSTRACT LIN, MICHELLE- "Only the blind are free": Sight and Blindness in Margaret Atwood's The Blind Assassin. (Under the direction of Dr. Leila May) Sight plays a pivotal role in Margaret Atwood’s Booker Prize-winning novel, The Blind Assassin (2001). Sight and blindness are manifested on multiple levels, with multiple implications, within the intertwining narratives of the novel. The novel’s treatment of sight, however, is largely negative, mirroring the increasingly ocularphobic discourse (particularly that in France) during the twentieth century. This discourse challenged the reliability and validity of sight and perception, as well as the ideologies based on a visual conception of the world. In the novel, treatment of sight can be separated into three categories: unreliability of sight, fear and mistrust of sight, and blindness as the ultimate solution to the problems posed by sight. Chapter 1 studies the use of photographs and mirrors in the novel in order to expose the deficiencies of sight: sight is not reliable because it is subjective and because the visual does not represent fully the human mind or experience. Another mechanism that undermines sight is discussed in Chapter 2, which examines four scopic structures that are employed in order to establish a fear and mistrust of sight in the novel. These four scopic structures include the gaze of the absent mother/father, God, the Panopticon, and the lover. Sight is not only unreliable, but it is also something to be feared, even when the look emanates from a supposedly benign subject. Like many French ocularphobic theorists, the novel refuses to posit neither the restoration of nor an alternative to sight.
    [Show full text]
  • Wordsworth, Lucy, and Post-Apartheid Silence in J.M. Coetzee's Disgrace Author[S]: Michael Sayeau Source: Moveabletype, Vol
    Article: ‘Oh, the difference to me!’: Wordsworth, Lucy, and Post-Apartheid Silence in J.M. Coetzee's Disgrace Author[s]: Michael Sayeau Source: MoveableType, Vol. 7, ‘Intersections’ (2014) DOI: 10.14324/111.1755-4527.061 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2014 Michael Sayeau. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. “Oh, the diference to me!”: Wordsworth, Lucy, and Post-Apartheid Silence in !"! Coet$ee%s Disgrace !"! Coet$ee%s work o)er the past decade has been structured by an am*ivalence bordering on hostility to the forms in which he writes or speaks! His books arrive in the shops mar(ed as “fction,” but readers are more likely to fnd a set o+ essays (as in Diary of a Bad Year/ or academic talks (as in Elizabeth Costello/ than narrative prose! On the other hand, when as(ed to deliver a talk o+ his own – such as the Tanner Lectures at Princeton that formed the basis o+ Lives of the Animals or his No*el Prize acceptance speech in 2003 – Coet$ee has recourse to fctions! In a promotional blur* for Da)id Shields%s 2010 anti-no)elistic polemic Reality Hunger, Coet$ee%s dissatis+action with the con)entional underpinnings o+ the no)el as a form comes in an e)en more caustic form! I, too, am sick o+ the well-made no)el with its plot and its characters and its settings! I, too, am drawn to literature as (as Shields puts it/ ‘a form o+ thinking, consciousness, wisdom-seekin'%! I, too, like no)els that don9t look like no)els!7 But what was it that made this highly respected no)elist, who has won the Boo(er Prize twice and is a No*el laureate, turn so starkly against his own form; 1 Cited in, Zadie Smith, “An essay is an act of imagination.
    [Show full text]
  • Table of Contents Notes for Salman Rushdie: the Satanic Verses Paul
    Notes for Salman Rushdie: The Satanic Verses Paul Brians Professor of English, Washington State University [email protected] Version of February 13, 2004 For more about Salman Rushdie and other South Asian writers, see Paul Brians’ Modern South Asian Literature in English . Table of Contents Introduction 2 List of Principal Characters 8 Chapter I: The Angel Gibreel 10 Chapter II: Mahound 30 Chapter III: Ellowen Deeowen 36 Chapter IV: Ayesha 45 Chapter V: A City Visible but Unseen 49 Chapter VI: Return to Jahilia 66 Chapter VII: The Angel Azraeel 71 Chapter VIII: 81 Chapter IX: The Wonderful Lamp 84 The Unity of The Satanic Verses 87 Selected Sources 90 1 fundamental religious beliefs is intolerable. In the Western European tradition, novels are viewed very differently. Following the devastatingly successful assaults of the Eighteenth Century Enlightenment upon Christianity, intellectuals in the West largely abandoned the Christian framework as an explanatory world view. Indeed, religion became for many the enemy: the suppressor of free thought, the enemy of science This study guide was prepared to help people read and study and progress. When the freethinking Thomas Jefferson ran for Salman Rushdie’s novel. It contains explanations for many of its President of the young United States his opponents accused him allusions and non-English words and phrases and aims as well of intending to suppress Christianity and arrest its adherents. at providing a thorough explication of the novel which will help Although liberal and even politically radical forms of Christianity the interested reader but not substitute for a reading of the book (the Catholic Worker movement, liberation theology) were to itself.
    [Show full text]
  • J.M. Coetzee and the Problems of Literature by Benjamin H. Ogden a Dissertation Submitted to the Graduate School-New Brunswick R
    J.M. Coetzee and the Problems of Literature by Benjamin H. Ogden A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in English written under the direction of Myra Jehlen and Derek Attridge and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2013 Abstract of the Dissertation J.M. Coetzee and the Problems of Literature by Benjamin H. Ogden Dissertation Directors: Myra Jehlen and Derek Attridge This dissertation traces the evolution of J.M. Coetzee’s thinking concerning literary form in the non-fiction he wrote between 1963 and 1984. During the first two decades of his career, Coetzee completed a Master’s thesis on Ford Madox Ford, a doctoral dissertation on Samuel Beckett, and numerous articles on topics ranging from quantitative stylistics, to linguistics, to classical rhetoric. Although Coetzee’s novels have become among the most widely studied contemporary fiction in the world, his earliest writing about literature has been widely ignored. I argue that in neglecting Coetzee’s early work on literary form scholars have neglected much of his most important thinking concerning both the nature of the novel as a literary genre and literary form itself. If Coetzee’s novels are important in large part because of how they rethink the conventions of fiction, then it is critical to understand that his novels are extensions of the thinking he did as a doctoral candidate in linguistics and literature, and as a professor.
    [Show full text]
  • Feminist Criticism in the Narratives of Arundhati Roy and Mahasweta Devi
    Feminist criticism in the narratives of Arundhati Roy and Mahasweta Devi Trabajo de Fin de Grado Autora: Alicia Garrido Guerrero Tutor: Maurice Frank O’Connor Grado en Estudios Ingleses Curso 2017/18 Facultad de Filosofía y Letras CONTENTS Abstract…………………………………………………………………… 3 1. Introduction…………………………………………………………….. 4 1.1 Aim……………………………………………………………. 4 1.2 Corpus……………………………………………….………... 5 1.3 Methodology………………………………………………….. 6 1.4 Indian historical context………………………………………. 7 2. Caste and class marginalisation………………………...……………... 9 2.1 Inter-caste and inter-class relationships………...……………. 10 2.2 Abuse of authorial power………………………...…………... 13 2.3 Women against women………………………………………. 16 3. Indian patriarchal society………………………………………………. 18 3.1 Women’s dependence on male relatives……………………… 19 3.2 Women’s duties and responsibilities…………………………. 22 4. Female sexualisation and gender violence……………...……...……… 25 4.1 Exploitation of the female body……………………………… 26 4.2 Gender violence……….……………………………………… 30 5. India today: real facts behind fiction…………………………………... 32 6. Conclusions……………………………………………………………. 35 7. Bibliography…………………………………………………………… 37 2 ABSTRACT Arundhati Roy and Mahasweta Devi are well-known Indian authors that stand out for their continuous vindication of human rights in favour of the most disadvantaged, which includes feminism and the fight against gender-based discrimination. In their works, both writers narrate stories whose female characters suffer marginalisation, abuse and numerous restrictions due to their condition of women. This portrayal of violence and injustice can be understood as a critic upon the Indian caste system, the patriarchy and the objectification of women. These are precisely the aspects that shall be analysed in this work with the purpose of understanding what these authors denounce in their narrations. In particular, the project shall be focused on Roy’s The God of Small Things and Devi’s Outcast and Breast Stories.
    [Show full text]