Subalterns: a Comparative Study of African American and Dalit/Indian Literatures
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List of Candidates RBU Research Week Phase VII Dates: May 21-27, 2018 Sl.1 Name Subject Tentative Title/Area of Mentor/ Research Supervisor 1
List of Candidates RBU Research Week Phase VII Dates: May 21-27, 2018 Sl.1 Name Subject Tentative Title/Area of Mentor/ Research Supervisor 1. Moumita Biswas Library and Research Output in Md. Ziaur Information Humanities s Reflective Rahaman Sciences through Ph.d Thesis awarded in Rabindra Bharati University: An Analytical Study 2. Satarupa Saha Do Conceptual Transition in Dr. Sudip Ranjan Humanities as Reflected in Hatua DDC 3. Madhushree Do Exploring the Research Md. Ziaur Dutta productivity of Doctoral Rahaman Thesis in LIS Schools of West Bengal upto 2017 4. Musaraf Ali Education Metacognitive Knowledge Dr. Subrata Saha and regulation Patterns Among Science and Social Science Students 5. Proloyendu Do Measuring Emotional Dr. Rajesh Bhoumick Intelligence Kumar Saha 6. Sisir Kumar Do Mathematics Education Dr. Jonaki Sarkar Bhattacharya 7. Sohom Roy Do Rise of Family Language Dr. Bharati Chowdhury Policy and practical in Bhattachaya ESL: A Study of Inter-State Migrant Families in West Bengal 8. Farha Hasan Do Educational Empowerment Dr. Sunil Kumar of Muslim Women in Baskey Birbhum District 9. Arpita Banerjee Political Science Nation and Nationalism – Dr. Bankim A Comparative Analysis of Chandra Mandal the respective Position of Jadunath Sarkar and Rabindranath Tagore. 10. Kingshuk Panda Do Eco-Politics and Problems Dr. Sourish Jha of Coastal Tourism at Digha 11. Rita Dutta Do Cinema and the City: An Prof. Biswanath Interface(1947-19770 Chakraborty 12. Rakesh Ghosh Do Not mentioned Prof. Sabyasachi Basu Ray Chaudhury 13. Joyeeta Das Do Dalit Feminism with Dr. Bankim special Reference to Chandra Mandal Bengali Dalit Literature 14. Manasree Do Good Governance and the Prof. -
Reflection of Marriage and Family in Vijay Tendulkar's Play
REFLECTION OF MARRIAGE AND FAMILY IN VIJAY TENDULKAR’S PLAY “KAMALA” FADL MOHAMMED AIED ALGALHADI DR. SHAILAJA B. WADIKAR Ph D. Research Scholar Dep. of English Associate Professor School of Lang. Lit. & Culture School of Lang. Lit. & Culture S. R. T. M. U. Nanded S. R. T. M. University, Nanded (MS) INDIA (MS) INDIA A drama as part of literature is admittedly a convenient way for showing social problems of society in which story is told to the audience through the performance on the stage by the actors. The present paper aims to study Vijay Tendulkar’s ideas about marriage family in his play Kamala. The play is based on a real life incident. Kamala is a play that elucidates the predicament of women. The play explores how women have been treated by male counterparts. Women are oppressed, misused, exploited, and enslaved. Kamala shows how women are used as a means for fulfillment of men's lust, ambition, fame, and money. The paper presents the horrible exploitation of women in the rural area of India where women can be bought from a flesh market .It aims to show the reality of life of women in modern India especially the concept of marriage and family. This paper will focus on the theme of exploitation which is found in the marital relationship in this play. Key Words: Vijay Tendulkar, Marriage, Family, Exploitation, Kamala, Drama, Women. INTRODUCTION Drama is the form of composition designed for performance in the theater, in which actors take the role of the characters, perform the indicated action, and utter the written dialogue(M.H.Abram ).According to Dryden“drama is just and lively image of human nature, representing its passions and humors, and the changes of fortune to which it is subjected, for the delight and instruction of mankind.”Drama in India has ancient history. -
Volume 1 on Stage/ Off Stage
lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them. -
Syllabus of Arts Education
SYLLABUS OF ARTS EDUCATION 2008 National Council of Educational Research and Training Sri Aurobindo Marg, New Delhi - 110016 Contents Introduction Primary • Objectives • Content and Methods • Assessment Visual arts • Upper Primary • Secondary • Higher Secondary Theatre • Upper Primary • Secondary • Higher Secondary Music • Upper Primary • Secondary • Higher Secondary Dance • Upper Primary • Secondary • Higher Secondary Heritage Crafts • Higher Secondary Graphic Design • Higher Secondary Introduction The need to integrate art s education in the formal schooling of our students now requires urgent attention if we are to retain our unique cultural identity in all its diversity and richness. For decades now, the need to integrate arts in the education system has been repeatedly debated, discussed and recommended and yet, today we stand at a point in time when we face the danger of lo osing our unique cultural identity. One of the reasons for this is the growing distance between the arts and the people at large. Far from encouraging the pursuit of arts, our education system has steadily discouraged young students and creative minds from taking to the arts or at best, permits them to consider the arts to be ‘useful hobbies’ and ‘leisure activities’. Arts are therefore, tools for enhancing the prestige of the school on occasions like Independence Day, Founder’s Day, Annual Day or during an inspection of the school’s progress and working etc. Before or after that, the arts are abandoned for the better part of a child’s school life and the student is herded towards subjects that are perceived as being more worthy of attention. General awareness of the arts is also ebbing steadily among not just students, but their guardians, teachers and even among policy makers and educationalists. -
Between Violence and Democracy: Bengali Theatre 1965–75
BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977. -
“Low” Caste Women in India
Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny. -
British Black Power
SOR0010.1177/0038026119845550The Sociological ReviewNarayan 845550research-article2019 The Sociological Article Review The Sociological Review 2019, Vol. 67(5) 945 –967 British Black Power: © The Author(s) 2019 Article reuse guidelines: The anti-imperialism of sagepub.com/journals-permissions DOI:https://doi.org/10.1177/0038026119845550 10.1177/0038026119845550 political blackness and the journals.sagepub.com/home/sor problem of nativist socialism John Narayan School of Social Sciences, Birmingham City University, UK Abstract The history of the US Black Power movement and its constituent groups such as the Black Panther Party has recently gone through a process of historical reappraisal, which challenges the characterization of Black Power as the violent, misogynist and negative counterpart to the Civil Rights movement. Indeed, scholars have furthered interest in the global aspects of the movement, highlighting how Black Power was adopted in contexts as diverse as India, Israel and Polynesia. This article highlights that Britain also possessed its own distinctive form of Black Power movement, which whilst inspired and informed by its US counterpart, was also rooted in anti-colonial politics, New Commonwealth immigration and the onset of decolonization. Existing sociological narratives usually locate the prominence and visibility of British Black Power and its activism, which lasted through the 1960s to the early 1970s, within the broad history of UK race relations and the movement from anti-racism to multiculturalism. However, this characterization neglects how such Black activism conjoined explanations of domestic racism with issues of imperialism and global inequality. Through recovering this history, the article seeks to bring to the fore a forgotten part of British history and also examines how the history of British Black Power offers valuable lessons about how the politics of anti-racism and anti-imperialism should be united in the 21st century. -
Decolonizing Post-Colonial Studies and Paradigms of Political Economy: Transmodernity, Decolonial Thinking, and Global Coloniality
Decolonizing Post-Colonial Studies and Paradigms of Political Economy: Transmodernity, Decolonial Thinking, and Global Coloniality RAMÓN GROSFOGUEL UNIVERSITY OF CALIFORNIA, BERKELEY Can we produce a radical anti-systemic politics beyond identity politics? Is it possible to articulate a critical cosmopolitanism beyond nationalism and colonialism? Can we produce knowledges beyond Third World and Eurocentric fundamentalisms? Can we overcome the traditional dichotomy between political-economy and cultural studies? Can we move beyond economic reductionism and culturalism? How can we overcome the Eurocentric modernity without throwing away the best of modernity as many Third World fundamentalists do? In this paper, I propose that an epistemic perspective from the subaltern side of the colonial difference has a lot to contribute to this debate. It can contribute to a critical perspective beyond the outlined dichotomies and to a redefinition of capitalism as a world-system. In October 1998, there was a conference/dialogue at Duke University between the South Asian Subaltern Studies Group and the Latin American Subaltern Studies Group. The dialogue initiated at this conference eventually resulted in the publication of several issues of the journal NEPANTLA. However, this conference was the last time the Latin American Subaltern Studies Group met before their split. Among the many reasons and debates that produced this split, there are two that I would like to stress. The members of the Latin American Subaltern Studies Group were primarily Latinamericanist scholars in the USA. Despite their attempt at producing a radical and alternative knowledge, they reproduced the epistemic schema of Area Studies in the United States. With a few exceptions, they produced studies about the subaltern rather than studies with and from a subaltern perspective. -
A Study of Mahasweta Devi's Urvashi O Johnny
Policies of Survival: Where Happiness Epitomises Freedom... 85 Ars Artium: An International Peer Reviewed-cum-Refereed Research Journal of Humanities and Social Sciences ISSN (Online) : 2395-2423 • ISSN (Print) : 2319-7889 Vol. 6, January 2018 Pp. 85-93 http://www.arsartium.org Policies of Survival: Where Happiness Epitomises Freedom: A Study of Mahasweta Devi’s Urvashi O Johnny –Goutam Karmakar* Abstract The post-independent era of Indian English literature witnesses the emergence of feminine sensibility, and women writers like Kamala Markandaya, Anita Desai, Kamala Das, Manju Kapur, Shashi Deshpande, Mamta Kalia, Gauri Deshpande, Nayantara Sahgal, Bharati Mukherjee, Arundhati Roy, Anita Nair, Eunice De Souza, Sujata Bhatt, Shobha De, Mahasweta Devi and many others try their best for the literary emancipation of not only women but also the marginalized and exploited sections of the society. Among these writers, Mahasweta Devi is one such who recreates a span of history which contains the mechanics of exploitation, depressed communities of India, politico- economical policies of the upper class and social evils and maladies, and for showing all these, she falls in the category of those writers writing in their native languages whose writings are translated regularly into English. An essentially human vision rooted in her imparts a grand encroachment on the contemporary literary scenario. She sings for those whose songs of suffering, prayer, despair, protest and disillusionment are unheard. In her works she tries to give voice to the voiceless and shows the ways to survive and protest. Her Urvashi O Johnny is one such play that deals with survival policies through the character of non-living Urvashi and her owner Johnny, a ventriloquist. -
Portrayal of Women in the Popular Indian Cinema Wizerunek Kobiet W
Portrayal of Women in the Popular Indian Cinema Wizerunek kobiet w popularnym kinie indyjskim Sharaf Rehman THE UNIVERSITY OF TEXAS – RIO GRANDE VALLEY, USA Keywords Indian cinema, women, stereotyping Słowa klucze kino indyjskie, kobiety, stereotypy Abstract Popular Indian cinema is primarily rooted in formulaic narrative structure relying heavily on stereotypes. However, in addition to having been the only true “mass medium” in India, the movies have provided more than escapist fantasy and entertainment fare. Indian popular cinema has actively engaged in social and political criticism, promoted certain political ideologies, and reinforced In- dian cultural and social values. This paper offers a brief introduction to the social role of the Indian cinema in its culture and proceeds to analyze the phenomenon of stereotyping of women in six particular roles. These roles being: the mother, the wife, the daughter, the daughter-in-law, the widow, and “the other woman”. From the 1940s when India was fighting for her independence, to the present decade where she is emerging as a major future economy, Indian cinema has Artykuły i rozprawy shifted in its representation and stereotyping of women. This paper traces these shifts through a textual analysis of seven of the most popular Indian movies of the past seven decades. Abstrakt Popularne kino indyjskie jest przede wszystkim wpisane w schematyczną strukturę narracyjną. Mimo, że jest to tak naprawdę jedyne „medium masowe” w Indiach, tamtejsze kino to coś więcej niż rozrywka i eskapistyczne fantazje. Kino indyjskie angażuje się w krytykę społeczną i polityczną, promuje pewne Portrayal of Women in the Popular Indian Cinema 157 ideologie a także umacnia indyjskie kulturowe i społeczne wartości. -
Setting the Stage: a Materialist Semiotic Analysis Of
SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception. -
375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82,