Vivek Research Vol-IV, No

Total Page:16

File Type:pdf, Size:1020Kb

Vivek Research Vol-IV, No Vivek Research Vol-IV, No. I1, Jan. 2015 ISSN : 2249-295X VIVEK RESEARCH (A Biannual Peer Reviewed Journal of multi disciplinary research articles) Editor in Chief EDITORIAL Dr. Hindurao Patil Research has a significant role in the Principal - Vivekanand College, Kolhapur. professional lives of university and college E-mail : [email protected] teachers. If we compare Indian Universities to the Western Universities in terms of research, we are far behind. Hardly 6 to 7 Nobel Prize winners are Editorial Office in India, whereas there are 84 Nobel Laureates in Dr. D. A. Desai Hardward University alone. It clearly indicates the position of research in India. Executive Editor There are several reasons that our university and 2130, E, Tarabai Park, Kolhapur. college teachers are not serious about research. Phone No. : 0231-2654398 Many of the teachers don‟t have positive approach Mob. : 9850146731 towards research. Some of them have real urge about Fax : 0231-2658840. research and they want their work to be published Email : [email protected] and commented so that there can be valid and Website : www.vivekanandcollege.org reliable conclusions. But unfortunately they don‟t get proper platform to publish their work, as there are Published by limited number of research journals available now. Dr. Hindurao Patil To cater the needs of the research scholars, we have started „Vivek Research Journal‟. This is a sincere Principal attempt to encourage researchers in various Vivekanand College, Kolhapur. disciplines to publish their research articles and help them to generate research culture among them. Subscription Table Single Individual Institutional It gives me immense pleasure to publish First issue of vol V, No.II of Vivek Research Journal. It Copy is a matter of pride that the response to this is Annual Rs.125/- Rs.250/- Rs. 400/- overwhelming. I am very happy to mention that the journal is converted in to refereed journal. All the Three Rs.600/- Rs.1100/- articles published in this issue are properly Years reviewed by the panel of referees and I believe that we are successful in maintaining the standard of the journal. I appreciate the efforts of the article writers and I am sure they will sustain and enhance their research culture Disclaimer The views expressed by the authors do not necessarily represent those of editorial board or publishers. Although every care has been taken to avoid errors of omission. This magazine is being published on the condition and undertaking that all the information given in this magazine is merely for reference and must not be taken as having authority of or binding in any way on the authors, editors and publishers who do not owe any responsibility for any damage or loss to any person, for the result of any action taken on the basis of this work. The Publishers shall be obliged if mistakes are brought to their notice. The articles published in Vivek Research is subject to copy right of the publisher. No material can be reproduced without prior permission of the publisher Subscription amount should be sent by Nationalised Bank Draft in favour of Editor, „Vivek Research‟ , payable at Kolhapur. Issues of „Vivek Research‟ are mailed by ordinary post at subscriber‟s risk and our responsibility ceases once we hand over the magazine to post office. Vivek Research Vol-IV, No.II, Jan 2015 ISSN : 2249-295X C O N T E N T 1. Dr. K.Sripad Bhat Method in Madness: Research Methodology in Literary and Cultural Studies 3 2. Shirish Chindhade Research a la mode ! 4-9 3. Dr. Advait. D. Joshi Genre Fiction : A New Emerging Area of Research 10-14 4 Dr. Kalpana Girish Gangatirkar Translation as a Research Activity 15-19 5. Dr. Ujjwala Tathe Using Children‘s Literature for the Cmotional, 20-25 Social and Moral Development of Children : A Research Methodology 6. Leelawati A. Patil Stylo-statistics: a Device of Measuring Author‘s Creativity. 26-30 7. Dr. Neeta Satish Dhumal Indian English Drama : A Challenging Area for Researchers. 31-34 8. Dr. Prabhavati Arvind Patil Pragmaticstylistics: 35-41 An Emerging Research Area in Indian English Literature 9. Dr. S. I. Noorani L. N. Shikalgar Importance of Literature Review in Research. 42-46 10. Dr. Sunita N Dalvai Importance of citation, impact factors. 47-54 11 Dr. Sunil Patil Ethics and Feminist Research: A Perspective. 55-58 12 Mrs Snehal R Prabhune Research Areas in English Literature. 59-62 13. Dr. Reshma R. Sadalge Problems Encountered by the Researchers and 63-65 Their Probable Solutions. 14. Dr. Kavita Tiwade Dr. Satish Ghatge Christianity and Literature: An Area of Research. 66-71 Vivek Research Vol-IV, No. II, Jan. 2015 ISSN : 2249-295X METHOD IN MADNESS: RESEARCH METHODOLOGY IN LITERARY AND CULTURAL STUDIES Dr. K.Sripad Bhat* The question of research meth- theoretical framework adopted by odology in literary studies has been the researcher. Method does not the subject of heated debate among remain independent of the theoreti- literary critics and researchers as cal framework. It is the theory well. Of course, it is true that re- which determines the research search methodology plays a strate- methodol-ogy. Hence, method gic role in social sciences and hu- varies based on the theoretical manities. However, when it comes structure which un-derpins it. to literary and cultural studies its Against this background, the role as well as function becomes Keynote will make an attempt to highly problematic. Is there a de- come to grips with some of the key fined method of looking at the is- issues related to research method- sues pertaining to literature? Does ology in literary and cultural stud- literature warrant specific ways of ies. It will map the contours of dif- studying it? ferent models of research: author- It must be noted that litera- centric, area-centric, comparative ture like any other discipline de- analysis, language pedagogy and so mands a ‗method‘ of examining it on. The Keynote explicates the fea- which is basically premised on the tures of research in these different models with suitable examples. National Seminar : Research Methodology 3 Vivek Research Vol-IV, No. II, Jan. 2015 ISSN : 2249-295X RESEARCH A LA MODE ! Shirish Chindhade* The English language tells us that ary increments and upward mobility, or hasty climbers have a sudden fall. Hasty Sam Pitrodaji of the National Knowl- submission of one‘s research thesis also edge Commission advising the Prime can meet the same fate at the hands of Minister to promote research through forthright, un-obliging and nit-picking institutional enrichment, research is a ris- ref-erees or external examiners. Such ing star on the horizons of our colleges men are dangerous. Your wise supervisor and universities now. The day is not far knows how to steer clear of them. The when like the polythene bags proliferat- following few hints are meant for those ing in our countryside as well as who are in a hurry for success and glam- cityscape, our academia will also soon be our, thirsting to wear on their forehead littered with research papers and research the title of a ―Dr‖. These hints keep re- de-grees, most of which—our perceptive minding them that every failure (that is critics murmur—being suspect in various rejection) is a stepping stone to the final ways, should have been returned with success. After all, did not even Thomas clear rejection notes by the referees and Alva Edison fail a thousand times before assessors. The big question is, how does finally successfully making the electric one achieve this precious note of rejec- bulb? tion of one‘s thesis? –Here are some ways of being successful in this effort. It is a truth universally acknowledged that academic research is a sunrise in- Develop Nose for the News dustry in India today. What with the UGC We love to describe our dear opening its floodgates of research funding nation as having the length and breadth or the NAAC insisting on the increase of of a subcontinent. Even then there are no research quantum in colleges, or the separate time zones across the land. It is Academic Performance Indicators (API) a single stretch of land where commu- goading the aspirants of career nication has revolutionized life. Despite advancement in terms of additional sal- this situation, it is still impossible to have * 7 Neelambari, Oppo. Mehendale garage, Erandwane, Pune: 411 004. [email protected] National Seminar : Research Methodology 4 Vivek Research Vol-V, No. II, Jan. 2015 ISSN : 2249-295X access to various records and documents of the paper is. E-mail it to the organiz- in our universities for countless reasons. ers with whatever the delegation fees. And research records being very aca- No, no; don‘t bother about the amount. demic, enjoy the last priority for preser- Countless grants are lying unplundered vation and high piles of dissertations lie with colleges these days. The generous mutely in obscure corners of libraries, UGC has inundated the coffers of col- gathering dust for decades on end, mak- leges and universities with grants and ing retrieval impossible. But you cannot funds. Above all, even if you have no afford to lose heart and hope. So keep access to them because the authorities digging out until you come upon the title have their own priorities and stooges, do you are looking for with a view to lifting not lose hope, for your six-pack (read its material in your dissertation or paper. sixth pay) package comfortably allows Get it Xeroxed immediately as it is a you an annual international seminar! So, prize scoop for you. —Quite an go West, man; go ahead and conquer the achievement as your first step to failure.
Recommended publications
  • Chapter I Introduction
    CHAPTER I INTRODUCTION While pursuing the study of Hterature in English, the researcher came across the American playwrights like T.Williams and E.Albee. The prescribed plays by T.Williams and E.Albee had been The Glass Menagerie and The Zoo Story respectively. While studying the background of The Glass Menagerie especially with the cultural divide between South and North America, certain parallels between the American and the Indian social structure struck the researcher's sensitivity. That is the sudden transition of financial status within the once affluent class of feudal lords and the tensions and agony arising out of it, the researcher unconsciously started comparing it with the plight of feudal lords in India who suffered something in a similar manner owing to the sudden abolition of 'Tenancy' system, which, in one stroke, transferred the ownership of the agricultural lands from the feudal lords to the tenants. Some landlords were aware of the imminent change and they were prepared for the same. But many others who remained complacent and thereby failed to take note of the changes looming large on the horizon in the new political system i.e. the self-governed India, were caught unawares. They received the crude jolt which left them in a state of shock and bewilderment. They could never recover themselves. Many of them were almost reduced to the level of paupers. This situation was dealt with powerfully and in a unique manner in another play by the newly emerging playwright in 80s,namely, Mahesh Elkunchwar in his play Wada Chirebandi. It won't be out of place to mention a famous novel in English by Manohar Malgaonkar who deals with the similar theme and issue, which was related not with the feudal lords but the former Princely States in India.
    [Show full text]
  • Dramatic and Social Background of Henrik Ibsen and Vijay Tendulkar
    Dramatic and Social 2 Background of Henrik Ibsen and Vijay Tendulkar 2.1 Henrik Ibsen 2.1.1 Biographical background of Ibsen The life span of Henrik Ibsen is from 1828 to 1906. He was born on 20 March 1828 in a small shipping town, Skien, in Norway and he died on 23 May 1906. This period is considered as the most significant period in the history of Norway. The time till 1905, when Norway became an independent state, was full of political upheaval and people were struggling to free Norway from the hands of Danish rule. Aniruddha Kulkarni comments in his biographical book in Ibsen- This freedom fight and the economical and social developments were inter depend- able. The pre independence period was noted for the hierarchical structure of the society. The society was divided between the rich and the poor. The upper class was known as ‘Embetclass’ which comprised of the people belonging to the various professions such as the military, the court, the professors from the University and other high professions such as the authorities of the Church and the government officers. And the others were workers and farmers who had to suffer a lot for mere living. The situation was in transition when Ibsen started writing during the 1850 (referred and translated from Kulkarni, 1992:03). Because of Norway -Sweden republic was changing Norway, there was a tremen- dous growth of industrialization. The railways, ships and roads developed for better transportation and communication. The post and the telegraph too helped people to have fast interaction. The commercial ships became the asset for Norway.
    [Show full text]
  • A Comiga Sruvy
    iii PA Of YE 06 Plikkl A comiga sruvy by SANDHYA N. DHANDARE A Thesis Submitted To Goa Univet3ity For The Demme Of Pg DOCTOR OF PHILOSOPHY IN 1V"-- 'er* ENGLISH Jovr r \ AA., supervised 11 2,02_, by Dr. F. A. fERNANDES Director Academic Staff College Goa University Taleigao Plateau MAY 2000 ent9Desia I ce0 that the thesis entitled The Plays Of James Roy And :1\voik A Comparative Study, submitted by St. Sandhya N. hire for the degree of Doctor of Philosophy in English of Goa University, is completed under my Supervision, The thesis is a record of resod work doge by her during the period of study and has not primly formed the basis for the Nord of any degree or diploma to her pl. a. N. josai a. gERNaspes Pl'fliessor And Head Director Dept. Of English Academic Staff College Goa University Goa University RESEARCH GUIDE Sy :2_0r!. pate: j 5)1 16,1, Date: &estILION I declare that this thesis has been composed by me and has not previously formed the basis for le award of any de0e, diploma or othermilar Snit. SANDI-WA N. 1314ANDARE Department of English Goa University kleigao Plateau oate: g zoo° , ACKNOWLEDGEMENT First and foremost, I would like to acknowledge the encouragement, guidance and help of my Research Guide Dr. F. A. Fernandes, Director, ASC, Goa University at every stage of the development of this study. But for his support this thesis wouldn't have been a possibility. Hats off to his Monumental Patience. I am further, greatly indebted to Dr.
    [Show full text]
  • University of Mumbai Academy of Theatre Arts
    University of Mumbai Academy of Theatre Arts Master of Theatre Arts Final Year (2019-20) Model Multiple Choice Questions with Answer key For Online Exam purpose ===================================================== Instructions: 1. Each Question carry 2 marks 2.Total Marks for Examination = 50 3. Exam Time 1 (One) hour Q1. Who was played Sakharam’s character from ‘Sakharam Binder’, directed by Kamlakar Sarang? कमलाकर सारंग निर्देशित ‘सखाराम बाℂडर’ इस िाटक मᴂ सखाराम की भशू मका ककसिे अर्दा की हℂ? 1. Kashinath Ghanekar काशििाथ घाणेकर 2. **Nilu Phule निळू फु ले 3. Dr. Shriram Lagoo डॉ.श्रीराम लागू 4. Prabhakar Panshikar प्रभाकर पणिीकर Q2. In which folk form we get ‘Ranglo’? ‘रंगलो’ हमᴂ ककस लोकिाटक मᴂ शमलता हℂ? 1. Jatra जात्रा 2. **Bhavai भवाई 3. Nautanki िौटंकी 4. Nachuva Naat िचुवा िाट Q3. ‘Khariya Ka Ghera’ the play is based on ‘खरीया का घेरा’ यह िाटक ककस पर आधाररत हℂ. 1. **The Caucasian Chalk Circle कॉकेिि चॉक सककल 2. Lysistrata शलसीत्राता 3. Electra इलेक्ट्रा 4. Agamemnon एगमेमिोि Q4. The Theatre group ‘Rang-Shankara’ is from which stase? ‘रंग िंकरा’ यह िा絍यर्दल ककस रा煍य का हℂ? 1.**Karnatak किाकटक 2. West Bengal पश्चचम बंगाल 3. Gujrat गुजरात 4. Rajasthan राजस्थाि Q5. Who is a founder of ‘Dapon – The Mirror’ the theatre group from Manipur? ‘र्दापोि – र्द शमरर’ इस िा絍यर्दल के निमाकता कौि हℂ? 1. Ratan Thiyam रति थथयाम 2.
    [Show full text]
  • The Master Playwrights and Directors
    THE MASTER PLAYWRIGHTS AND DIRECTORS BIJAN BHATTACHARYA (1915–77), playwright, actor, director; whole-time member, Communist Party, actively associated with Progressive Writers and Artists Association and the Indian People’s Theatre Association (IPTA); wrote and co-directed Nabanna (1944) for IPTA, starting off the new theatre movement in Bengal and continued to lead groups like Calcutta Theatre and Kabachkundal, with plays like Mora Chand (1961), Debigarjan [for the historic National Integration and Peace Conference on 21 February 1966 in Wellington Square, Calcutta], and Garbhabati Janani (1969), all of which he wrote and directed; acted in films directed by Ritwik Ghatak [Meghey Dhaka Tara (1960), Komal Gandhar (1961), Subarnarekha (1962), Jukti, Takko aar Gappo (1974)] and Mrinal Sen [Padatik (1973)]. Recipient of state and national awards, including the Sangeet Natak Akademi Award for Playwriting in 1975. SOMBHU MITRA (1915–97), actor-director, playwright; led the theatre group Bohurupee till the early 1970s, which brought together some of the finest literary and cultural minds of the times, initiating a culture of ideation and producing good plays; best known for his productions of Dashachakra (1952), Raktakarabi (1954), Putulkhela (1958), Raja Oidipous (1964), Raja (1964), Pagla Ghoda (1971). Recipient of Sangeet Natak Akademi Award for Direction (1959), Fellow of the Sangeet Natak Akademi (1966), Padmabhushan (1970), Magsaysay Award (1976), Kalidas Samman (1983). HABIB TANVIR (1923–2009) joined the Indian People’s Theatre Association in the late forties, directing and acting in street plays for industrial workers in Mumbai; before moving to Delhi in 1954, when he produced the first version of Agra Bazar; followed by a training at the RADA, a course that left him dissatisfied, and he left incomplete.
    [Show full text]
  • 1.1 the European Dramatic Tradition of Theatre with Reference to Women Characters
    Introduction 1 1.1 The European dramatic tradition of theatre with reference to women characters Drama as a genre of literature has been one of the earliest and the most influ- ential forms of expressions. It has been so due to its comprehensive nature, its capacity to deal with subtleties and its inherent aspects of putting them on stage in a manner that is convincing and entertaining. As a result, it has been the chief genre of literature that has undergone many changes on structural and thematic levels and has successfully become contemporary in its appeal. In the contemporary sense of subject matter, the present day issues, the the- matic and structural changes suiting to the understanding of the audience in society. Theatre has been used as an artistic endeavour and sometimes also as reactionary against social change and justice. They represented their trends through theatrical presentations. Along with this, one of the main objectives of presentation of drama is making the audience aware of the social and contempo- rary issues. It alerts the audience to changes in society and provides new ways of responding to them and imagining alternative possibilities. Along with the purpose of entertainment, drama conveys certain issues such as moral, social or political concerns. In general literature is primarily concerned with man’s social world, his adaptation to it and his desire to change it. In Introduction to the Study of Literature, William Henry Hudson argues that Literature is a vital record of what men have seen in life, what they have experienced of it, what they have thought and felt about those aspects of it which have the most immediate and enduring interest for all of us.
    [Show full text]
  • The Patriarchal Perspectives on Female Subjectivities in the Selected Plays of Atamjit and Mahesh Elkunchwar for the Award of DO
    The Patriarchal Perspectives on Female Subjectivities in the Selected Plays of Atamjit and Mahesh Elkunchwar Thesis submitted to the Central University of Punjab For the Award of DOCTOR OF PHILOSOPHY In Comparative Literature BY Amandeep Kaur Supervisor Dr. Alpna Saini Centre for Languages and Comparative Literature School of Languages, Literature and Culture Central University of Punjab, Bathinda August, 2019 CERTIFICATE I declare that the thesis entitled “THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR” has been prepared by me under the guidance of Dr. Alpna Saini, Associate Professor, Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab. No part of this thesis has formed the basis for the award of any degree or fellowship previously. (Amandeep Kaur) Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab, Bathinda-151001. Date: i CERTIFICATE I certify that AMANDEEP KAUR has prepared her thesis entitled “THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR” for the award of Ph.D. degree of the Central University of Punjab, under my guidance. She has carried out this work at the Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab. (Dr. Alpna Saini) Associate Professor Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab, Bathinda-151001. Date: ii ABSTRACT THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR Name of student: Amandeep Kaur Registration number: CUP/MPh-PhD/SLLC/CPL/2010-11/07 Degree for which submitted: Doctor of Philosophy Name of supervisor: Dr.
    [Show full text]
  • Contemporary Issues in Vijay Tendulkar's Plays
    Contemporary Literary Review India CLRI Brings articulate writings for articulate readers. eISSN 2394-6075 | Vol 5, No 2, CLRI May 2018 | p. 101-124 Contemporary Issues in Vijay Tendulkar’s Plays Dr S Somasundari Latha R V Government Arts College, Chengalpattu, AP. Abstract Vijay Tendulkar, an avant-garde playwright is one of the significant dramatists of Indian English genre. He is realistic in the portrayal of problems of common man, intricacies of human relationship and discrimination against women in the patriarchal society. He deals with all the ills and issues of the contemporary society. The issues are discussed in this paper under three headings – Gender Issues, Violence and Power Politics. Keywords Contemporary society in drama, gender issues in literature, violence and power politics, Vijay Tendulkar’s craft. Contemporary Literary Review India | eISSN 2394-6075 | Vol 5, No 2, CLRI May 2018 | Page 101 Contemporary Issues in Vijay Tendulkar’s Plays Dr S S Latha Contemporary Issues in Vijay Tendulkar’s Plays by Dr S Somasundari Latha The genre ‘drama’ has a rich tradition in India and it has its inception in the Vedic period. Bharata, the father of Drama’s Natyashastra in Sanskrit is the pioneering work on ancient Indian drama. Though drama lost its charm after the arrival of the British in India, yet it paves the way for translation of dramas written in Indian languages into English. Under the influence of the British, Indian theatre began to assume the style of western theatre. The combination of classical base and western influence provided wider opportunities to the playwrights to come out with innovative themes and stagecraft.
    [Show full text]
  • Rabindranath Tagore : Crisis in Civilization 7-25
    PREFACE In the curricular structure introduced by this University for students of Post Graduate degree programme, the opportunity to pursue Post Graduate course in Subjects introduced by this University is equally available to all learners. Instead of being guided by any presumption about ability level, it would perhaps stand to reason if receptivity of a learner is judged in the course of the learning process. That would be entirely in keeping with the objectives of open education which does not believe in artificial differentiation. Keeping this in view, study materials of the Post Graduate level in different subjects are being prepared on the basis of a well laid-out syllabus. The course structure combines the best elements in the approved syllabi of Central and State Universities in respective subjects. It has been so designed as to be upgradable with the addition of new information as well as results of fresh thinking and analysis. The accepted methodology of distance education has been followed in the preparation of these study materials. Cooperation in every form of experienced scholars is indispensable for a work of this kind. We, therefore, owe an enormous debt of gratitude to everyone whose tireless efforts went into the writing, editing and devising of a proper lay-out of the materials. Practically speaking, their role amounts to an involvement in ‘invisible teaching’. For, whoever makes use of these study materials would virtually derive the benefit of learning under their collective care without each being seen by the other. The more a learner would seriously pursue these study materials the easier it will be for him or her to reach out to larger horizons of a subject.
    [Show full text]
  • Issn 2454-8596
    ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ---------------------------------------------------------------------------------------------------------------------------------- Vijay Tendulkar : A New Horizon in Indian English Drama Dr. Deepali P. Agravat Marwadi Engineering College - Rajkot Volume.1 Issue 4 F e b r u a r y - 2 0 1 6 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ---------------------------------------------------------------------------------------------------------------------------------- Abstract Vijay Tendulkar is avant-garde Marathi playwright. He portrays the theme of isolation and alienation of an individual and his perpetual struggle with the hostile surrounding. In spite of having his roots in Marathi regional theatre, Tendulkar has emerged as a new voice in Indian theatre to explore the volcanic dimensions of resentment and discontent hidden within the invisible terrains of human consciousness. Tendulkar, a sensitive artist and a versatile genius, with his passion for freedom and the boldness of a journalist gave a new direction to his dramatic creed. His plays deal with the controversial issues like gender prejudice, corruption in politics, Lesbian relationship, Caste discrimination and the commercialization of Press and Personal Relationship. Besides of these thematic concerns, each play has been investigated to explore Tendulkar’s dexterity in mingling Western dramatic theories and strategies. My paper is focused on how Vijay Tendulkar becomes the most controversial personality into the field of Indian Writing in English and opens a new horizon in Indian English Drama by his ceaseless experimentation with theatre and unconventional portrayal of characters in his plays. His works created storms not only in literary circles but also saw strong social reactions stemming from the charge of obscenity and hurting the sensitivities of certain classes.
    [Show full text]
  • ISSN –2395-1885 Impact Factor: 5.389 Peer Reviewed Monthly Journal ISSN -2395-1877
    IJMDRR Research Paper E- ISSN –2395-1885 Impact Factor: 5.389 Peer Reviewed Monthly Journal ISSN -2395-1877 PROJECTION OF POLITICAL ALLEGORY IN VIJAY TENDULKAR’S ENCOUNTER IN UMBUGLAND: A BRIEF NOTE Abirami.P Ph.D Research Scholar (Full Time), Department of English and Comparative Literature, Madurai Kamaraj University, Madurai. Abstract This article deals with the political allegory on the postcolonial politics of India. In the Vijay Tendulkar’s play Encounter in Umbugland, India’s first democratic women Prime Minister, Indira Gandhi is symbolically portrayed as Vijaya, the Queen of Umbugland. The original title of the play Dambadwipcha Mukabala represents the old name of India (Hindustan), Dambadwipcha. India Gandhi’s period is the period of rapid change in people’s life, economical status, westernization, government policies and education. As a socialist playwright, the relation between politics and people of India is the central concern of the author. The so called orthodox rule of male being a bread winner model was broken by her rule. The contradiction of india’s written constitution and the practical reality exhibits in this play. As per Indian constitution defines India as, “Sovereign, Socialist, Secular, Democratic Republic”. Nevertheless, Vijay Tendulkar sarcastically portrayed the Autocracy, “Rule of the Queen (Vijaya)”. This article will give a brief note on the political allegory of Indira Gandhi’s governance of India. Key words: Political Allegory, Politics, History, Indira Gandhi, Political skullduggery and Autocracy. Literature is the documentation of life. Literature reflects the people’s life vice versa. There is a famous quote, “Art, freedom and creativity will change society faster than politics” (Victor Pinchuk).
    [Show full text]
  • Unit 21 Ghashiram Kotwal
    UNIT 21 GHASHIRAM KOTWAL 21.0 Objectives 21.1 Introduction 21.2 Indian Drama 21.3 Marathi Theatre 21.4 Modern Indian Theatre 21.5 Vijay Tenddkat: Life'aad Works 21.6 Let Us Sum Up 21.7 Suggested Rading 21.8 Answers to Exercises 21.0 OBJE- In this Unit, we shall briefly discuss the growth 2nd development of Indian theatre, especially Marathi theatre so that we can undergand Gbashkam Kotwalin its proper cantext. In addition to this, we shall also discuss the intellectual, social and political reasons that Muenced Indian theatre in the fifties and sixties and gave a certain direction to its subsequent development. After reading this Unit carefully, you will be able to: oatline the main trends in Indian drama; describe the development of Marathi theatre; discuss the historical background of the play and outline the Life and works of Vijay TtmdulJcar. 21.1 INTRODUrnON This is last Block in your course. In all the previous blocks, we have dkd Western drama which comes from a different culture, a different tradition. You have studied one-act plays and you have read Shakespeare's Macbefh,a play in five acts ;uPd the three-act plays of Ibsen and Shaw. We shall now turn to Gbashkam Kotwal which is quite different from all the plays you have read so far. Modem Indian theatre has emerged from a different tradition. It is for this reason that we shall discuss Indian and Marathi theatre to give you the introductory background which you will 6nd useful. Vijay Tendullcar, the well-known playwright has written Ghashim Kotwal in Marathi (first published, 1973).
    [Show full text]