DOCSLIB.ORG

Spatial Representations in Conte Metropolis Bombay

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spatial Representations in Conte Metropolis Bombay Metropolis Bombay: Spatial Representations in Contemporary Indian Fiction in English A Thesis Submitted in Partial Fulfilment of the Requirement s for the Degree of Doctor of Philosophy Kalpana Bora Roll No. 06614103 Supervisor Professor Rohini Mokashi-Punekar Department of Humanities and Social Sciences Indian Institute of Technology Guwahati Guwahati 781039 India February 2013 Indian Institute of Technology Guwahati Department of Humanities and Social Sciences Guwahati – 781039 (Assam) INDIA STATEMENT I hereby declare that the matter embodied in this thesis, entitled Metropolis Bombay: Spatial Representations in Contemporary Indian Fiction in English , is the result of research carried out by me in the Department of Humanities and Social Sciences, Indian Institute of Technology G uwahati, India, under the supervision of Professor Rohini Mokashi-Punekar in the Department of Humanities and Social Sciences. IIT Guwahati February 2013 (Kalpana Bora) TH-1162_06614103 Indian Institute of Technology Guwahati Department of Humanities and Social Sciences Guwahati - 781 039 (Assam), INDIA Dr. Rohini Mokash i-Punekar Phone: +91-361-2582555 Professor and Head Fax: +91-361-2582599 Email: [email protected] [email protected] CERTIFICATE It is certified that the matter embodied in the thesis entitled Metropolis Bombay: Spatial Representations in Contemporary Indian Fiction in English , submitted for the award of the degree of Doctor of Philosophy by Kalpana Bora, a student of the Department of Humanities and Social Sciences, Indian Institute of Technology Guwahati, India, has been carried out under my supervision. It is also certified that this work has not been submitted anywhere else for the award of a research degree. IIT Guwahati February 2013 (Prof. Rohini Mokashi-Punekar) TH-1162_06614103 ACKNOWLEDGEMENTS Like its subject this thesis is the product of the love, good wishes and encouragement of many who I must thank. Professor Rohini Mokashi-Punekar, my teacher, supervisor and an absolutely wonderful person. Thank you Ma’am. Ma-Deuta, I owe you everything. Ma-Pita, for immense love and faith. The members of my Doctoral Committee—Prof. Saundarjya Borbora, Dr. Liza Das and Dr. Arupjyoti Saikia—for constantly monitoring my progress. The Department of Humanities and Social Sciences, IIT Guwahati, for providing me the necessary infrastructure to complete this work. The Central Library (IIT Guwahati), the Central Library (IIT Bombay), the Jawaharlal Nehru Library, (University of Mumbai), Sir Dorabji Tata Memorial Library (Tata Institute of Social Sciences, Mumbai), the Asiatic Society Library (Mumbai) and the Central Library (Goa University) for providing me vital resources for this thesis. My colleagues in the Department of English, Cotton College, for making work such fun. Claudia Anderson, for providing me with a copy of her work. Professor Ravi Mokashi-Punekar, for unstinted encouragement. Prafulla Moha—for all the lessons learnt and unlearnt. Santanu Sir, Deetimali Baideo, and Merry Ba, for love, laughter and friendship. Ashima, Tejasha, Parag, Pallavi, Gopal da, Madhuri, and Jitu—life in the lab was never the same without you. Abhigyan, for the meticulous reading of the thesis and inputs. Monalisha, for friendship and much more. Himangshu and Arup, for making it possible. TH-1162_06614103 Nitu, Manu and Mayna, my ‘roots’ and ‘shadows’. Kanika, Simanta and Junuka, for the warm welcome into the family. Prasanta, for love. And little Kuhee, for the immense happiness you have brought to Mamam and Dita. TH-1162_06614103 Contents Chapter 1 Introduction 1 Chapter II Writing the City: Theories and Representations 32 Chapter III Cosmopolitan Bombay: Salman Rushdie’s Midnight’s Children and Shama Futehally’s Tara Lane 67 Chapter IV The Marginal City: Rohinton Mistry’s A Fine Balance and Kiran Nagarkar’s Ravan and Eddie 104 Chapter V Urban Networks, Crime and the “Unintended” City: Vikram Chandra’s Sacred Games and Murzbaan Shroff’s Breathless In Bombay 141 Chapter VI Conclusion 175 Bibliography 184 TH-1162_06614103 1 Chapter 1 Introduction So this is Bombay, monster muse, part witch, part clown, always absurd, often charming—my rogue ballad; this is Bombay, meri jaan. —Siddharth Dhanvant Sanghvi Bombay or Mumbai, as it is presently known, is the most populous city in India and one of the largest metropolitan regions in the world 1. This city has been designated as India’s most modern and advanced city in academic scholarship as well as in popular literature. Post independence, as the discourse of the nation gained favor with the public imaginary, Bombay became the primary site for the development of a national modernity with its associated ideas of democracy, secularism and social justice. However, the content of Bombay’s modernity is characterized by blatant contrasts which are acutely evident in the city’s contemporary urban predicament. The city, which provides a referential map for several works of fiction by Indian writers in English as well as vernacular literature, has frequently been signified as a space of theoretical ambiguity. In such a scenario, negotiation the urban—which in itself is conflicting and implicated in new codes of utopian yearnings and social arrangements—has opened up entirely new debates on urban studies and the significance of the city. In her Introduction to the cinema of Bombay Ranjani Mazumdar writes that experience of “a new delirium of urban life” in Bombay (as well as in other major Indian cities) is informed by increasing migration, growing urban inequality, violence, fear, and terror together with the spectacle of a good life (xxii). The urban fabric thus provides a powerful metaphor to stage and examine the mise-en-scène of city life in the globalized era. The present chapter attempts to locate the city of Bombay as a site for spatial negotiations. Section I of this chapter attempts to trace a brief history of the city of Bombay. Section II examines the notion of the city in India and the relevance of Bombay as a symbol of the nation’s modernity. Section III explores the representation of the city in literary and sociological works to situate Bombay as a potential site of theoretical interventions and deliberations. Section IV contains a brief TH-1162_06614103 2 overview of the structure of the thesis and the methodology used and section V summarizes the main arguments of each chapter. I The modern metropolis of Bombay began as a group of seven islands off the mainland of the North Konkan on the west coast of India. Historical sources reveal that in the 3 rd century BC these islands formed a part of the Magadha Empire ruled by the Buddhist emperor Ashoka. The Hindu rulers of the Silhara dynasty later governed the islands until 1343 CE when they were annexed to the Islamic sultanate of Gujarat. In 1534 the Portuguese gained control of the islands from Bahadur Shah of Gujarat. In 1661 the territory was ceded to Charles II of England as dowry for his marriage to Catharine de Braganza. In turn the islands were leased to the British East India Company, and this marked the beginning of the urban and commercial development of the city writes Gillian Tindall in The City of Gold: The Biography of Bombay (1982). Gerald Aungier—the governor and “founding father” of Bombay—recognized the potential of the islands as a centre of commerce and offered incentives to attract skilled workers and traders to the colony (Tindall 44). The growing commercial opportunities brought immigrants from far and wide to form the basis of the present business community. In 1687 the East India Company transferred their headquarters from Surat to Bombay. With increasing prosperity and growing political power following the 1817 victory over the Marathas, the British embarked on several land reclamation projects and large-scale engineering works. Over a sixty-year period from the completion of the vellard or seawall at Breach Candy in 1784 to the construction of the Mahim causeway in 1845, the seven original islands were merged into a single land mass. The British Crown assumed political control of Bombay when Queen Victoria was proclaimed the Empress of India in 1877. Imperial control of the city lasted for almost a century until India gained independence in 1947. For much of its history, Tindall writes, Bombay was the archetypal British colony in the sub-continent and a leading port-city of the British empire. The major commercial base of Bombay was the flourishing textile industry in the nineteenth century. While the initial aim was to replace British cotton imports with local products, Bombay manufacturers went beyond this to win former British TH-1162_06614103 3 markets abroad, thus forcing the British textile industry to focus on finer quality production. The development of new dock facilities by Governor William Hornby, the opening of trade relations between Bombay and China in 1773, and the availability of exportable surplus of cotton in the immediate hinterland of the city ensured further growth of the cotton industry, and also laid the foundation for the industrialization of Bombay. The opening of the Suez Canal in 1869 facilitated the import of machinery and export of manufactured goods. The outbreak of the American Civil War in 1861 cut off export of cotton from American South to Lancashire and forced the British manufacturers to seek alternative supplies from India, almost all of which passed through Bombay. Extra demand pushed up prices and cotton, in its various forms (raw, spun and finished products), “provided the foundation on which most Bombay fortunes rested” (Tindall 103). The Bombay textile industry enjoyed unprecedented success and dominated the economic base of the city for a long time. However, this dominance was thwarted in the 1940s especially in the inter-war period when unemployment pressed the need for diversification. Profits from cotton were invested in new capital-intensive sectors like food-processing and petrochemicals. The concentration of India’s oil refinery capacity in the area in and around Bombay further accelerated the growth of capital.
Load more

Recommended publications
  • The Epic Imagination in Contemporary Indian Literature
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School May 2017 Modern Mythologies: The picE Imagination in Contemporary Indian Literature Sucheta Kanjilal University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the South and Southeast Asian Languages and Societies Commons Scholar Commons Citation Kanjilal, Sucheta, "Modern Mythologies: The pE ic Imagination in Contemporary Indian Literature" (2017). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6875 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Modern Mythologies: The Epic Imagination in Contemporary Indian Literature by Sucheta Kanjilal A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a concentration in Literature Department of English College of Arts and Sciences University of South Florida Major Professor: Gurleen Grewal, Ph.D. Gil Ben-Herut, Ph.D. Hunt Hawkins, Ph.D. Quynh Nhu Le, Ph.D. Date of Approval: May 4, 2017 Keywords: South Asian Literature, Epic, Gender, Hinduism Copyright © 2017, Sucheta Kanjilal DEDICATION To my mother: for pencils, erasers, and courage. ACKNOWLEDGEMENTS When I was growing up in New Delhi, India in the late 1980s and the early 1990s, my father was writing an English language rock-opera based on the Mahabharata called Jaya, which would be staged in 1997. An upper-middle-class Bengali Brahmin with an English-language based education, my father was as influenced by the mythological tales narrated to him by his grandmother as he was by the musicals of Broadway impressario Andrew Lloyd Webber.
    [Show full text]
  • History of Novel
    History of Novel BRAINSTORMING [PAGE 177] Brainstorming | Q 1 | Page 177 Match the columns: Column A Column B (a) Murasaki Shikibu (1) Cervantes (b) Novella (2) Bankimchandra Chattopadhyaya (c) Don Quixote (3) Tale of Genji (d) Rajmohan’s Wife (4) New Solution: Column A Column B (a) Murasaki Shikibu (3) Tale of Genji (b) Novella (4) New (c) Don Quixote (1) Cervantes (d) Rajmohan’s Wife (2) Bankimchandra Chattopadhyaya Brainstorming | Q 2.1 | Page 177 Pick out the odd element from the group. Arun Joshi, Vikram Seth, Graham Greene, Kiran Nagarkar Solution: Graham Greene. All the others are authors of Indian origin. Brainstorming | Q 2.2 | Page 177 Pick out the odd element from the group. Place, Period, Theme, Climate, Lifestyle Solution: Theme All the others are details related to the setting of the novel. Brainstorming | Q 2.3 | Page 177 Pick out the odd element from the group. Theme, Plot, Character, Novella Solution: Novella All the others are elements of the novel/novella. Brainstorming | Q 3.1 | Page 177 Complete the following statement: The two types of conflicts that the plot may have are _______. Solution: The two types of conflicts that the plot may have are internal (inside the mind of the character) and external (with other characters or entities). Brainstorming | Q 3.2 | Page 177 Complete the following statement: The word ‘picaresque’ originated from _______. Solution: The word ‘picaresque’ originated from the Spanish word, ‘picaro’ which means ‘rogue’. Brainstorming | Q 3.3 | Page 177 Complete the following statement: The epistolary novel presents the narrative through _______. Solution: The epistolary novel presents the narrative through series of correspondence or other documents.
    [Show full text]
  • Rochester Thesis
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ASU Digital Repository The Empire's Shadow: Kiran Nagarkar's Quest for the Unifying Indian Novel by Rachel Rochester A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved November 2011 by the Graduate Supervisory Committee: Daniel Bivona, Co-Chair J. Edward Mallot, Co-Chair Elizabeth Horan ARIZONA STATE UNIVERSITY December 2011 ABSTRACT Kiran Nagarkar, who won the Sahitya Akedemi Award in India for his English language writing, is a man who attracts controversy. Despite the consistent strength of his literary works, his English novels have become a lightning rod – not because they are written in English, but because Nagarkar was a well-respected Marathi writer before he began writing in English. Although there are other writers who have become embroiled in the debate over the politics of discourse, the response to Nagarkar's move from Marathi and his subsequent reactions perfectly illustrate the repercussions that accompany such dialectical decisions. Nagarkar has been accused of myriad crimes against his heritage, from abandoning a dedicated readership to targeting more profitable Western markets. Careful analysis of his writing, however, reveals that his novels are clearly written for a diverse Indian audience and offer few points of accessibility for Western readers. Beyond his English language usage, which is actually intended to provide readability to the most possible Indian nationals, Nagarkar also courts a variegated Indian audience by developing upon traditional Indian literary conceits and allusions. By composing works for a broad Indian audience, which reference cultural elements from an array of Indian ethnic groups, Nagarkar's writing seems to push toward the development of the seemingly impossible: a novel that might unify India, and present such a cohesive cultural face to the world at large.
    [Show full text]
  • Stylistic Experiments in Kiran Nagarkar's Ravan and Eddie And
    International Journal of English Research International Journal of English Research ISSN: 2455-2186; Impact Factor: RJIF 5.32 Received: 31-01-2019; Accepted: 01-03-2019 www.englishjournals.com Volume 5; Issue 2; March 2019; Page No. 81-85 Stylistic Experiments in Kiran Nagarkar’s Ravan and Eddie and The Extras Dr. Pravin Waghmare Research Scholar, Shri Shivaji College Akola, Maharashtra, India Abstract Kiran Nagarkar is very innovative regarding the employment of narrative techniques and stylistic devices. His novel Ravan and Eddie (1994) narrates the story of two protagonists and The Extras (2012) is a sequel to it. In The Extras the first chapter is repeated exactly from the first novel. The novel traces the adult lives of Ravan and Eddie as extras in Bollywood. He has used various techniques that suit the multicultural reality of his fictional world. His irony is seething and humour is replete with tragic connotations. It is through the dexterous use of stylistic devices he brings out the tragic absurdity of life. His narrative techniques are characterized by black comedy and the flippant attitude to look at the world of sorrows and sufferings he has created is his forte. The present paper attempts to find the manner in which the stylistic devices have been fused to create the impression of life as it is seen and experienced by the novelist. Keywords: stylistic device, narration, black humour irony, paradox, hyperboles Introduction discussion and analysis, but on more impersonal issues, The famous romantic poet and a critic, S.T. Coleridge issues which are related tangentially to the story- for firmly believes that all arts achieve their form from within example, the disquisition on Hindi films, or the meditation and there is no imposition from without.
    [Show full text]
  • Bombay Novels
    Bombay Novels: Some Insights in Spatial Criticism Bombay Novels: Some Insights in Spatial Criticism By Mamta Mantri With a Foreword by Amrit Gangar Bombay Novels: Some Insights in Spatial Criticism By Mamta Mantri This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Mamta Mantri All rights for this book reserved. No part of this book 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 copyright owner. ISBN (10): 1-5275-2390-X ISBN (13): 978-1-5275-2390-6 For Vinay and Rajesh TABLE OFCONTENTS Acknowledgements ......................................................................... ix Foreword ......................................................................................... xi Introduction ................................................................................. xxvi Chapter One ...................................................................................... 1 The Contours of a City What is a City? The City in Western Philosophy and Polity The City in Western Literature The City in India Chapter Two ................................................................................... 30 Locating the City in Spatial Criticism The History of Spatial Criticism Space and Time Space,
    [Show full text]
  • “I Knew That I Was a Hybrid”: an Interview with Kiran Nagarkar
    JOURNAL OF POSTCOLONIAL WRITING, 2017 VOL. 53, NOS. 1–2, 43–51 https://doi.org/10.1080/17449855.2017.1322169 INTERVIEW “I knew that I was a hybrid”: An interview with Kiran Nagarkar Anjali Nerlekar Rutgers University, New Brunswick, NJ, USA ABSTRACT Kiran Nagarkar is a well-known bilingual novelist in Marathi and in KEYWORDS English who has written several notable and award-winning novels as Fiction; chawls; hybridity; well as plays. In this interview conducted in August 2016, the novelist advertising; Kersy Katrak; discusses his background and his beginnings in Marathi writing, and Cuckold his years in advertising and working with Kersy Katrak. The novelist discusses the biographical connection to the chawls in Bombay and the role of excrement in his own work. Nagarkar also explains the early popular and literary influences on his work, the sense of his own hybridity across the writing in two languages, and his refusal to search for an originary past. Kiran Nagarkar (b. 1942) is known for his bilingual writing and innovation in both Marathi and English: his first novel, Sat Sakkam Trechalis (Seven Sixes Are Forty-Three; Nagarkar 1974), is seen as one of the early experimental texts in modern Marathi writing; his third novel, Cuckold (1997), won the prestigious Sahitya Akademi award. Amongst his most popular writing is the novel Ravan and Eddie (1994) to which Nagarkar has added the sequels The Extras (2012) and Rest in Peace: Ravan & Eddie (2015a). It features the irrepressible duo of Ravan and Eddie who document, with tremen- dous humour as well as empathy, post-1960 Bombay through to the current 21st-century Mumbai.
    [Show full text]
  • Apeejay Kolkata Literary Festival 2017
    Apeejay Kolkata Literary Festival 2017 Conversations: Identity: Inclusive urban cities, Post Truth, Voice of Girls, women writers and writing on women , News : Announcing of short film winner at Little India Stories by iLead-o-Scope 2.0 Discussions : History, why mythology is subjective truth Events: Day 3 - 17th January @ ST. PAUL’S CATHEDRAL GROUNDS: Us and Them: Of Identity and Belonging: with authors Marcos G Torrente, Jael Silliman, Kiran Nagarkar and Sadaf Saaz; Modernity and Beyond: Culture and the Urban Space in the 21st Century: With architect Jon Lang, photographer Ram Rahman, and author Amit Chaudhuri; A Space for Us: The Last Girl in Literature: With Anita Nair, Baby Halder, Ruchira Gupta. Moderated by Urvashi Butalia; Lest We Forget: Rescuing Lost Histories: Challenges and rewards of revisiting silenced histories. With Ritu Menon, Kama Maclean, Shrabani Basu; Post-Truth – a threat to liberal democracy? Are we living in a time where fact is being ignored for emotional rhetoric? With Ananya Vajpeyi and Ram Rahman; Of Stardust and Tinseltown: Writing Bollywood: With Shobhaa De, Rachel Dwyer, Jerry Pinto; Little India Stories: the Other attractions: Poetry Café and Plug in hold their sessions for 2017 with Open Pic, Adil & Paloma and Sambit; Little India Stories: the iLead-o-Scope 2.0 Awards with actor Parambrata, filmmaker Q, cinematographer Ranjan Palit, film studies professor Rachel Dwyer. Introduced and moderated by Modhurima Sinha. @ TOLLYGUNGE CLUB: From Olympus to Kailash with Devdutt Pattanaik on Greek myths with an Indian
    [Show full text]
  • The Researcher Is Intended to Study His Select Novels and Want to Focus on Socio-Cultural Issues in His Select Novels
    Review of Literature: The researcher is intended to study his select novels and want to focus on socio-cultural issues in his select novels. Indian society is caste and religion based society. Earlier, they were all regarded equal in social status and could take up any profession they liked. There was no restriction in the matter of eating food or marriage with members of other profession. But with the beginning of specializing in hereditary professions and coming with contact with indigenous people situations changed and the birth of people decided their caste. Hence the varna system was developed that time was an outcome of social and economical development. But as time passed it led the divisions of society. He has read some articles on Kiran Nagarkar’s works. 1] Pande Vijay Baburao (Aug. 2011) writes in his research paper ‘Reasons for Cross- Culturalism in the Works of V’ S’ Naipaul,’ he presents Indian Immigrants to retain Indianness. Naipaul’s work reflects Cross-culturalism in Religion, tradition, taboos, orthodoxies, customs, rituals , superstitions, casteisms, marriage sex names education, language, clothes, manners etiquettes and food etc. 2] Suryawanshi Shivaji V and Kharbe Ram P (Nov.. 2011) has worked on ‘Cultural Harmony in Khushwant Singh’s Train to Pakistan’. The paper attempts to explore cultural harmony and its milieu with socialization and also how cultural disharmony plays reluctant role to demonstrate menace of social disintegration in the context of partition time of India. The culture of India is one of the oldest cultures in the world. There is cultural diversity through out the country.
    [Show full text]
  • Feminist Interpretation in Kiran Nagarkar's Novel 'Rest in Peace'
    JAC : A Journal Of Composition Theory ISSN : 0731-6755 Feminist interpretation in Kiran Nagarkar’s novel ‘Rest in Peace’ Misha Parnami Research Scholar Department of English University of Mumbai, Mumbai, Maharashtra, India Email- [email protected] Mobile- 9009865321 Abstract The role of women is not just vital in society but has always remained vital in literature. It has drastically changed in today’s world. From always carrying out domestic chores, the women of today are at compelling positions and at par with men. At whichever position they might be, they have always remained the support system of the family. Kiran Nagarkar’s novels are exuberant not just in terms of its’ male characters but also its female characters. Strong, independent, vocal and supportive are the qualities of the women characters in his novels. Nagarkar’s trilogy: ‘Ravan & Eddie’ (1995), ‘The Extras’ (2012) and ‘Rest in Peace’ (2015) have the same women characters. The novels are a true depiction of the ‘female’ in feminism and a ‘female’ in the modern world. The research paper focuses on the female characters in the novel ‘Rest in Peace’ throwing light on their qualities that a modern woman possesses in the Indian context. Keywords: female, modern, strong, independent, vocal, supportive The notable bilingual writer, Kiran Nagarkar was a novelist, playwright, screenwriter, storyteller and drama and film critic. Born on 2 April 1942 in Bombay, in a middle- class Maharashtrian family, the writer wrote in Marathi, his mother tongue as well as in English. A Postmodern in his approach and writings he died on 5 September 2019 in Mumbai after suffering from brain hemorrhage.
    [Show full text]
  • The Postcolonial Bazaar: Marketing/Teaching Indian Literature
    The Postcolonial Bazaar: Marketing/Teaching Indian Literature ARNAB CHAKLADAR A JLx. GOOD WAY perhaps to measure the viability of a critical methodology or approach is to count the number of antholo• gies it generates. Another is to count the number of public dis• agreements among its practitioners over its very name. In the case of "postcolonial" studies — in all its typographical vari• ants — both numbers are quite high. In just the last few years at least as many as five substantial "introductions" to and readers and anthologies of "postcolonial" criticism have been pub• lished by major academic presses1. Major journals such as ARIEL, Callaloo, Critical Theory, October, PMLA, and Social Text have all published special issues on "postcoloniality."2 This has been accompanied by the growing appearance of "postcolonial" sections not just in college bookstores but also in the outlets of major popular chains. But if in all this activity it has become easier to find postcolonial criticism, there is still litde agreement over the uses and implications of the different versions of its name. These disagreements have been aired so often it may not be worth belabouring them here.3 Suffice it to say, the crux of the matter is usually that of coming to terms either with the temporality of colonialism suggested by the "post" or the affiliations with other "post-isms" that the term calls to mind. Surprisingly enough the timeline of postcolonial studies itself is usually taken for granted. If we were to take as our guide the chapter breakdowns and page allotment of major surveys of the field, either Robert Young's influential White My• thologies or Bart Moore-Gilbert's recent Postcolonial Theory: Con• texts, Practices, Politics, it would seem that the story of postcolonial studies proper takes Frantz Fanon as short preface but really begins with the publication of Edward Said's Orientalism and comes into its own with the career of Edward ARIEL: A Review of International English Literature, 31:1 & 2, Jan.
    [Show full text]
  • Portrayal of Mumbai in the Novels of Jeet Thayil and Kiran Nagarkar: Representation of Post-Independence India
    ================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 18:9 September 2018 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ================================================================ Portrayal of Mumbai in the Novels of Jeet Thayil and Kiran Nagarkar: Representation of Post-Independence India Prof. Rameshwar B. Dusunge ===================================================================== Courtesy: https://www.amazon.com/Narcopolis-Novel-Jeet-Thayil/dp/0143123033 Abstract Cities are the sites of complex and varied global and local interconnections that have the capability to generate diverse economic, social, political forms and spaces. Cities cannot be perceived in one perspective, and thus, have to be concluded with various underlining themes and notions that defines its existence. Cities must be understood from a variety of perspectives that adhere to the social, ==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 18:9 September 2018 Prof. Rameshwar B. Dusunge Portrayal of Mumbai in the Novels of Jeet Thayil and Kiran Nagarkar: Representation of Post- Independence India 191 cultural, economic and political constructs (Bridge and Watson, 2002). Such an understanding will aid in the absolvent of the pressing issues that plague the development of the current city or state. The idea of a city or a state in not just limited to its geographical boundaries, rather, it is defined by the collective approach of the population which reflects the psychological state of the city. Thus, the idea of identity of the city and those of its people is trapped in a vicious cycle, wherein one impacts the other in equal measure. Cities are defined by its buildings, roads, infrastructure and various materialistic aspects; however, cities, in an equal measure, also reflect the intricacies that occur within their geographical realm.
    [Show full text]
  • Indian English Novel After 1980: Encompassing the New Generation
    JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 Vol 8, Issue 1, 2021 INDIAN ENGLISH NOVEL AFTER 1980: ENCOMPASSING THE NEW GENERATION Arnab Roy Research Scholar National Institute of Technology, Durgapur Email: [email protected] Abstract: Indian English Literature refers to authors' body of work in India whose native or mother tongues might be one of India's several languages. It is also related to the work of Indian Diaspora members. It is also named Indo-Anglian literature. As a genre, this development is part of the larger spectrum of postcolonial literature. This paper discusses about Indian English novels after 1980. 1. Introduction This article attempts to consolidate Indian English Literature after 1980. There are a variety of books by literary artists such as SrinivasaIyengar, C.D. Narasimmaiya, M. K. Naik etc. that describe the beginning and development up to 1980. But the timely collection is not enough to date and this report is useful for a briefing on contemporary literary pedalling in around three-and-a-half decades. Apart from the deficiency of the correctly written root of the works consulted by Wikipedia, this kind of history is regularly obligatory. In India, post-colonial pressures played a critical and special position rather than post-war circumstances. It is true that an Indian genre called English writing has flourished unlimitedly and immensely and continues to thrive only during that time, i.e. after 1980. This paper is a study of Post- modern Indian English Novel, highlighting its history, themes adopted, andother aspects. 2. Historical past English isn't a foreign tongue to us.
    [Show full text]