Mapping out the Rushdie Republic
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mythological Approach in Rushdie's Grimus
MYTHOLOGICAL APPROACH IN RUSHDIE’S GRIMUS GAIKWAD MAHENDRAKUMAR M. DR. REETA HARODE Lecturer in English, Associate Professor and Head, Government Polytechnic, Beed, Dept. of English, DIST. Beed Vasantrao Naik Government Institute of (MS) INDIA Arts and Social Sciences, Nagpur. (MS) INDIA As a novelist, Rushdie made his debut with Grimus in 1975. This novel is an exercise in fantastical science fiction. It draws on the 12th-century Sufi poem The Conference of Birds. The title of the novel is an anagram of the name ‘Simurg’. It means the immense, all-wise, fabled bird of pre-Islamic Persian mythology. Rushdie’s the next novel Midnight’s Children won the Booker Prize and brought him international fame. It is written in exuberant style. It is the comic allegory of Indian history. It revolves around the lives of the narrator Saleem Sinai and the 1000 children born after the Declaration of Independence. All of the children are given some magical property. Saleem has a very large nose, which grants him the ability to see ‘into the hearts and minds of men.’ His chief rival is Shiva. Shiva has the power of war. Saleem, dying in a pickle factory near Bombay, tells his tragic story with special interest in its comical aspects. The work aroused a great deal of controversy in India this happened because of its unflattering portrait of Indira Gandhi and her son Sanjay. Sanjay was involved in a controversial sterilization campaign. Midnight’s Children took its title from Nehru’s speech delivered at the stroke of midnight, 14 August 1947, as India gained its independence from England. -
Midnight's Children
Midnight’s Children by SALMAN RUSHDIE SYNOPSIS Born at the stroke of midnight at the exact moment of India’s independence, Saleem Sinai is a special child. However, this coincidence of birth has consequences he is not prepared for: telepathic powers connect him with 1,000 other ‘midnight’s children’ all of whom are endowed with unusual gifts. Inextricably linked to his nation, Saleem’s story is a whirlwind of disasters and triumphs that mirrors the course of modern India at its most impossible and glorious. ‘Huge, vital, engrossing... in all senses a fantastic book’ Sunday Times STARTING POINTS FOR YOUR DISCUSSION Consider the role of marriage in Midnight’s Children. Do you think marriage is portrayed as a positive institution? Do you think Midnight’s Children is a novel of big ideas? How well do you think it carries its themes? If you were to make a film of Midnight’s Children, who would you cast in the principle roles? What do you think of the novel’s ending? Do you think it is affirmative or negative? Is there anything you would change about it? What do you think of the portrayal of women in Midnight’s Children? What is the significance of smell in the novel? Midnight’s Children is narrated in the first person by Saleem, a selfconfessed ‘lover of stories’, who openly admits to getting some facts wrong. Why do you think Rushdie deliberately introduces mistakes into Saleem’s narration? How else does the author explore the theme of the nature of truth? What do you think about the relationship between Padma and Saleem? Consider the way that Padma’s voice differs from Saleem’s. -
Recommended Reading: Latin America
Recommended Reading: Latin America In our busy lives, it is hard to carve out time to read. Yet, if you are able to invest the time to read about the region where you travel, it pays off by deepening the significance of your travel seminar experience. We have compiled the following selection of book titles for you to help you get started. Many titles are staff recommendations. Titles are organized by the topics listed below. Happy reading! Bolivia Latin American Current Affairs Cuba Latin American History El Salvador Globalization Guatemala Indigenous Americans Honduras Religion / Spirituality Mexico U.S.-Mexico Border Nicaragua U.S. Policy in Central & Latin America Women & Feminism Film Literature Testimonials Latin American Current Affairs Aid, Power and Privatization: The Politics of Telecommunication Reform in Central America by Benedicte Bull Northampton, MA.: Edward Elgar Publishing, 2005; ISBN: 1845421744. A comparative study of privatization and reform of telecommunications in Costa Rica, Guatemala and Honduras. The focus is on political and institutional capacity to conduct the reforms, and the role of the World Bank and the Inter-American Development Bank (IDB) in supporting the processes at various stages. Gaviotas: A Village to Reinvent the World by Alan Weisman, Chelsea Green Publishing Company, 1998. Journalist Weisman tells the story of a remarkable and diverse group of individuals (engineers, biologists, botanists, agriculturists, sociologists, musicians, artists, doctors, teachers, and students) who helped a Colombian village evolve into a very real, socially viable, and self-sufficient community for the future. Latin American Popular Culture: An Introduction, edited by William Beezley and Linda Curcio-Nagy, Scholarly Resources, 2000. -
Strength for Today and Bright Hope for Tomorrow Volume 10 : 1 January 2010 ISSN 1930-2940
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 10 : 1 January 2010 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. K. Karunakaran, Ph.D. Jennifer Marie Bayer, Ph.D. Language and Literature: An Exposition - Papers Presented in Karunya University International Seminar Editor: J. Sundarsingh, Ph.D. Language in India www.languageinindia.com 10 : 1 January 2010 S. Jenefa Kiruba Malar „Fall from Grace into Grief‟: Putting into Perspective the Outrages of Terrorism in Salman Rushdie‟s Shalimar the Clown 308 ‘Fall from Grace into Grief’: Putting into Perspective the Outrages of Terrorism in Salman Rushdie’s Shalimar the Clown S. Jenefa Kiruba Malar Mastering the Art of Keeping Oneself in the News! Salman Rushdie has mastered the difficult and somewhat perilous art of keeping himself in the news. Rushdie stands out in the universe of English fiction for politically charged writing. As a storyteller of the highest class, his trademark tendency is to take on sensitive themes from history or current affairs without pulling punches. His characterization, plotting and language flow are not ends in into the viscera of terrorism's interconnectedness - how dots of violence, justice and revenge link together across time and space into blood-soaked lines. Shalimar the Clown Undermined by Its Own Cleverness Rushdie‟s eighth novel, Shalimar the Clown, he carries us spellbound from Hinduism to Nazism, Krishna to Allah, and Kashmir to California. Along the way, he examines and shatters traditional notions of love, vengeance, nationalism, seduction, and betrayal. -
Midnight's Children, the Moor's Last Sigh, and Shalim
PARODY IN THE CONTEXT OF SALMAN RUSHDIE’S MAGICAL REALISTIC FICTION: MIDNIGHT’S CHILDREN, THE MOOR’S LAST SIGH, AND SHALIMAR THE CLOWN KUĞU TEKİN JANUARY 2010 PARODY IN THE CONTEXT OF SALMAN RUSHDIE’S MAGICAL REALISTIC FICTION: MIDNIGHT’S CHILDREN, THE MOOR’S LAST SIGH, AND SHALIMAR THE CLOWN A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY KUĞU TEKİN IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ENGLISH LITERATURE JANUARY 2010 Approval of the Graduate School of (Sciences) ___________________ (Prof. Dr. Sencer Ayata) Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. ___________________ (Prof. Dr. Wolf König) Head of Department Foreign Language Education This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. __________________ Prof. Dr. Nursel İçöz Supervisor Examining Committee Members Professor, Dr. Oya Batum Menteşe (Atılım, İDE) __________________ Assistant Professor, Dr. Margaret Sönmez (METU, FLE) __________________ Assistant Professor, Dr. Nurten Birlik (METU, FLE) __________________ Assistant Professor, Dr. Nazan Tutaş (AÜ, İDE) __________________ I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Tekin, Kuğu Signature : iii ABSTRACT PARODY IN THE CONTEXT OF SALMAN RUSHDIE’S MAGICAL REALISTIC FICTION: MIDNIGHT’S CHILDREN, THE MOOR’S LAST SIGH, AND SHALIMAR THE CLOWN Tekin, Kuğu Ph.D., Department of English Literature Supervisor: Prof. -
Salman Rushdie and Hybridity Jessica Brown Olivet Nazarene University, [email protected]
Olivet Nazarene University Digital Commons @ Olivet Honors Program Projects Honors Program 5-2011 East / West: Salman Rushdie and Hybridity Jessica Brown Olivet Nazarene University, [email protected] Follow this and additional works at: https://digitalcommons.olivet.edu/honr_proj Part of the Literature in English, North America, Ethnic and Cultural Minority Commons, Modern Literature Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Brown, Jessica, "East / West: Salman Rushdie and Hybridity" (2011). Honors Program Projects. 3. https://digitalcommons.olivet.edu/honr_proj/3 This Article is brought to you for free and open access by the Honors Program at Digital Commons @ Olivet. It has been accepted for inclusion in Honors Program Projects by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. Brown 1 Copyright © 2011 by Jessica Brown An earlier version of Chapter 2, ―The Hybridity of History in Midnight’s Children‖ was published in the 2011 Sigma Tau Delta Review, a national undergraduate literary journal. Brown 2 Mumbai “How far did they fly? Five and a half thousand as the crow. Or: from Indianness to Englishness, an immeasurable difference. Or, not very far at all, because they rose from one great city, fell to another.” ---Salman Rushdie, The Satanic Verses Brown 3 East / West: Salman Rushdie and Hybridity Table of Contents Title Page 1 Copyright Page 2 Preface 3 Title Page 4 Abstract 5 Part One 1. The Contexts of Hybridity 6 Part Two 2. The Hybridity of History in Midnight’s Children 21 3. Refusing National Hybridity in Shame 32 4.Migrant Hybridity in The Satanic Verses 43 5. -
Reconstructing Transnational Identities in Salman Rushdie's
Reconstructing Transnational Identities in Salman Rushdie’s Shalimar the Clown. Mukul Sharma Assistant Professor Department of English Govt. College Hamirpur (H.P) India The present paper attempts to address the issues of mobility, identity crisis, transnationalism and global terrorism in Salman Rushdie‟s Shalimar the Clown (2006). In other words, the attempt is to investigate the representation of the relationship between the distant and the close, the local and the global, and the foreign and the exotic through an in- depth analysis of the novel. This paper argues that the narrative structure of Shalimar the Clown encodes this dis-ordered temporality, driven as it is by personal and political resentment. The temporality of resentment negates the structure of revenge.The narrative of Shalimar the Clown continually blurs the dividing line between the personal and the political. Diasporic communities and post-colonial world have traditionally served as a bridge between the particular and the universal. In this respect, Bill Ashcroft maintains that: (P)ost-colonial experience demonstrates the fact that the key to the resistance of the global by the self-determination of the local lies not in dismissal, isolation and rejection but more often in engagement and transformation. The diffuse and interactive process of identity formation proceeds in global terms in much the same way as it has done in post-colonial societies, and it is the model of post-colonial appropriation which is of most use in understanding the local engagements with global culture. (209) The condition of diaspora is born out of a twin process: it originates at the moment of displacement from familiar systems of knowledge, and develops into a lived phenomenon when other spaces emerge in a transnational sphere of communication. -
Finding Displacement Through Incest in Salman Rushdie's the Ground
Finding Displacement through Incest in Salman Rushdie’s The Ground Beneath her Feet and Fury by Katie Sinor April, 2014 Director of Thesis: Dr. Richard Taylor Department: English Incest is a widespread theme in literature that continues to grow in frequency (Barnes 3). It is rarely addressed amongst scholars due to being a taboo topic, but in this thesis I aim to address it and analyze it thoroughly in two novels. Though at times subtle, it is a reoccurring theme in Indian literature, and more specifically, in works by Salman Rushdie. I argue that Rushdie intentionally includes instances of incest in his works to illustrate displacement felt by postcolonial India. This thesis analyzes two of his texts, The Ground Beneath her Feet and Fury , and identifies the instances of this particular taboo. Finding Displacement through Incest in Salman Rushdie’s The Ground Beneath her Feet and Fury A Thesis/Dissertation Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree Of Masters by Katie Sinor May, 2014 © Katie Sinor, 2014 Finding Displacement through Incest in Salman Rushdie’s The Ground Beneath her Feet and Fury by Katie Sinor APPROVED BY: DIRECTOR OF THESIS: ______________________________________________________________________ (Richard Taylor, PhD) COMMITTEE MEMBER:________________________________________________________ (Seodial F. Deena, PhD) COMMITTEE MEMBER: _______________________________________________________ (Kristy Ulibarri, PhD) CHAIR OF THE DEPARTMENT -
Salman Rushdie's Shalimar the Clown
Lapis Lazuli –An International Literary Journal / Vol.II/ Issue I /SPRING 2012 ISSN 2249-4529 Salman Rushdie’s Shalimar The Clown: Tragic Tale of a Smashed World Saurabh Kumar Singh ______________________________________________________________________________ Salman Rushdie is, perhaps, the most controversial and political novelist of our troubled times. The world of his fictions and non-fictions accurately portrays the complex and confusing state of postcolonial world. Almost all of his major writings bear the testimony of his understanding and interpretation of history and the world, and their lasting influence on the life of common humanity. Shalimar The Clown (2005) is his most engaging book since Midnight's Children(1981). For so long a devout celebrant of postcolonial hybridity and diversity, of cultural fusion and merging, Rushdie is here grappling imaginatively with the shock of 11 September 2001 and the wars that have followed. He renders this very complex phenomenon in the following words: Everywhere was now a part of everywhere else. Russia, America, London, Kashmir. Our lives, our stories, flowed into one another’s, were no longer our own, individual, discrete. This unsettled people. There were collisions and explosions. The world was no longer calm. (Rushdie 2005:37) This fine novel reminds us that, unfortunately, we forget this at our peril. In this novel Rushdie has brilliantly portrayed the recent tragic history of Kashmir, the homeland of Rushdie’s maternal grandfather and one-time favourite location for Rushdie family holidays, had appeared only as a shadowy original for the Valley of K in the children’s fantasy Haroun and the Sea of Stories (1990), and as the point of departure for Aadam Aziz, cast out of paradise after losing his faith in Midnight’s Children. -
Salman Rushdie: Reading the Postcolonial Texts in the Era of Empire
Postcolonial Text, Vol 5, No 2 (2009) Salman Rushdie: Reading the Postcolonial Texts in the Era of Empire Masood Ashraf Raja Kent State University In the post-9/11 era many assertions of cultural difference are now being appropriated in the name of the neoliberal empire and a perpetual War on Terror. Most works of recent postcolonial scholarship, as Gayatri Spivak aptly points out, have been reframed in the service of “easy postnationalism that is supposed to have come into being with globalization” (1). There is, therefore, a danger that in this process of theoretical overgeneralization, the particularities of postcolonial nation- states are overwritten by the universalizing and inescapable dictates of the current regime of high capital and its attendant cultural imperialism. Based on these assumptions about the current phase of high capital, Spivak suggests that the main role of the humanities is “the empowerment of an informed imagination” (2). This training of an informed imagination, Spivak further asserts, must continue “persistently” and “forever” (3). Focusing on writing by Salman Rushdie, this article attempts to articulate a nuanced model of reading the postcolonial texts in this new era of empire. I appropriate the term “inundation” from Pakistani military strategy.1 In its military usage, inundation involves the pre-planned flooding of a certain area, as a last-resort defensive measure, to impede the progress of advancing armor. In case of Pakistan, the canals and dams in the Punjab region are constructed with this strategic aim. The purpose of this strategy is to ensure that the most potent ground war machine—the tank—cannot move into Pakistani territory. -
Central America Movement’
ISSA Proceedings 1998 – Argument Theory And The Rhetorical Practices Of The North American ‘Central America Movement’ 1. Introduction They loved us when we stood in front of the Galleria and sang “El Salvador’s another Viet Nam” to the tune of “Walking in a Winter Wonderland.” But the situation in El Salvador was different from Viet Nam, and we knew that the equation was an oversimplification. But we also knew that we needed something that would get the public’s attention, something that would help them connect with an issue on which we wanted to change American policy. “We” here is the group of people who made up the Central America Movement, and most, specifically, the Pledge of Resistance, in Louisville, Kentucky. The goal of that group, and of the movement in general, was to end U.S. government support for repressive right-wing governments in Central America and to end the support of the Reagan administration for the Contras who sought to overthrow the Sandinista government in Nicaragua. The Movement sought to influence policy entirely through democratic means, entirely by using the resources always open to citizens in a democracy: the formation of public opinion and the persuasion of senators and representatives who would be voting on aid bills. Cutting off funding for Reagan administration initiatives was the best procedural way to disable the administration’s policy. The only “illegalities” in which the Movement as I know it engaged were acts of very public – the more public the better – civil disobedience. Throughout the 1980s, the issue of Central America policy never became a “determining” one; that is, it was never an issue on which the majority of Americans based their votes and thus one on which the administration was loath to be at odds with a segment of the electorate. -
The Blurred Boundaries Between Film and Fiction In
3-n mil THE BLURRED BOUNDARIES BETWEEN FILM AND FICTION IN SALMAN RUSHDIE'S MIDNIGHT'S CHILDREN, THE SATANIC VERSES, AND OTHER SELECTED WORKS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Moumin Manzoor Quazi, B.F.A., M.A., M.A. Denton, Texas August, 1999 $+9 Quazi, Moumin Manzoor, The Blurred Boundaries Between Film and Fiction in Salman Rushdie's Midnight's Children, The Satanic Verses, and Other Selected Works. Doctor of Philosophy (English), August, 1999, 170 pp., 110 titles. This dissertation explores the porous boundaries between Salman Rushdie's fiction and the various manifestations of the filmic vision, especially in Midnight's Children, The Satanic Verses, and other selected Rushdie texts. My focus includes a chapter on Midnight's Children, in which I analyze the cinematic qualities of the novel's form, content, and structure. In this chapter I formulate a theory of the post-colonial novel which note;s the hybridization of Rushdie's fiction, which process reflects a fragmentation and hybridization in Indian culture. I show how Rushdie's book is unique in its use of the novelization of film. I also argue that Rushdie is a narrative trickster. In my second chapter I analyze the controversial The Satanic Verses. My focus is the vast web of allusions to the film and television industries in the novel. I examine the way Rushdie tropes the "spiritual vision" in cinematic 1 terms, thus shedding new light on the controversy involving the religious aspects of the novel which placed Rushdie on the most renowned hit-list of modern times.