The Partition of India
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MA in Comparative Literature (Revised and Introduced from 2018)
MA in Comparative Literature (Revised and introduced from 2018) Semester I CL/MA Core 1: Introducing Literary Studies, Concepts and Events Objective: The course will introduce comparative literary studies and certain concepts and events important to understand literary or cultural texts. The outline of the course will be as follows. Apart from the prescribed texts, there will be special lectures on other aspects of literature and linguistics. Outcome By the end of this section the learner will be able to identify the following Concepts and tools of Comparative Literature: Literature, Comparative Literature, National Literature, General Literature, History, World Literature, Sahitya, Genology, Thematology, Historiography, Literary History, Literary Periodization, itihas, denotation, connotation, extrinsic, intrinsic, synchrony, diachrony, orality, performance, reading. Ten (10) concepts will be discussed. Suggested Readings: Sisir Kumar Das, ‘Prologue’, A History of Indian Literature (1800-1910), Western Impact: Indian Response. David Damrosch, Natalie Melas, & Mbongiseni Buthelezi, (Eds). The Princeton Sourcebook in Comparative Literature. Sayeed, S.A: ‘Being seen through Literature’ (Visva Bharati Quarterly) Dakshinaranjan Mitra Majumder’s introduction to Cchelebhulano Cchara Rabindranath Thakur’s introduction to Thakumar Jhuli, and Sahajpath M.H. Abrams, A Glossary of Literary Terms Events: This section will discuss some of the most important literary and extra-literary events within the Comparative Literary framework. Suggested Readings: Sisir Kumar Das. ‘Prologue’, A History of Indian Literature (1800-1910), Western Impact: Indian Response. CL/MA/ Core 2: Language Course I (Cross-listed) Objective: The objective of this course is to introduce compulsory language learning as part of skill development. The students will have option of selecting ONE Indian or non-Indian language from the pool of options offered to that particular batch. -
The Feminine Eye: Lecture 5: WATER: 2006: 117M
1 The Feminine Eye: lecture 5: WATER: 2006: 117m: May 2: Women Directors from India: week #5 Mira Nair / Deepa Mehta Screening: WATER (Deepa Mehta, 2005) class business: last class: next week: 1. format 2. BEACHES OF AGNES 3. Fran Claggett 2 Women Directors from India: Mira Nair: [Ni-ar = liar] b. 1957: India: education: Delhi [Delly] University: India Harvard: US began film career as actor: then: directed docs 1988: debut feature: SALAAM BOMBAY! kids living on streets of Bombay: real homeless kids used won Camera d’Or: Cannes Film Festival: Best 1st Feature clip: SALAAM BOMBAY!: ch 2: 3m Nair’s stories: re marginalized people: films: focus on class / cultural differences 1991: MISSISSIPPI MASALA: interracial love story: set in US South: black man / Indian woman: Denzel Washington / Sarita Choudhury 2001: MONSOON WEDDING: India: preparations for arranged marriage: groom: Indian who’s relocated to US: Texas: comes back to India for wedding won Golden Lion: Venice FF 2004: VANITY FAIR: Thackeray novel: early 19th C England: woman’s story: Becky Sharp: Witherspoon 2006: THE NAMESAKE: story: couple emigrates from India to US 2 kids: born in US: problems of assimilation: old culture / new culture plot: interweaving old & new Nair: latest film: 2009: AMELIA story of strong pioneering female pilot: Swank 3 Deepa Mehta: b. 1950: Amritsar, India: father: film distributor: India: degree in philosophy: U of New Delhi 1973: immigrated to Canada: embarked on professional career in films: scriptwriter for kids’ movies Mehta: known for rich, complex -
Sahitya Akademi PUNJABI Publications
Sahitya Akademi PUNJABI Publications MONOGRAPHS (MAKERS OF INDIAN LITERATURE) Amrita Pritam (Punjabi writer) By Sutinder Singh Noor Pp. 96, Rs. 40 First Edition: 2010 ISBN 978-81-260-2757-6 Amritlal Nagar (Hindi writer) By Shrilal Shukla Translated by Narinder Bhullar Pp. 116, First Edition: 1996 ISBN 81-260-0088-0 Rs. 15 Baba Farid (Punjabi saint-poet) By Balwant Singh Anand Translated by Prem Kotia Pp. 88, Reprint: 1995 Rs. 15 Balwant Gargi (Punjabi Playright) By Rawail Singh Pp. 88, Rs. 50 First Edition: 2013 ISBN: 978-81-260-4170-1 Bankim Chandra Chatterji (Bengali novelist) By S.C. Sengupta Translated by S. Soze Pp. 80, First Edition: 1985 Rs. 15 Banabhatta (Sanskrit poet) By K. Krishnamoorthy Translated by Prem Kotia Pp. 96, First Edition: 1987 Rs. 15 Bhagwaticharan Verma (Hindi writer) By Shrilal Shukla Translated by Baldev Singh ‘Baddan’ Pp. 96, First Edition: 1992 ISBN 81-7201-379-5 Rs. 15 Bhai Kahn Singh Nabha (Punjabi scholar and lexicographer) By Paramjeet Verma Pp. 136, Rs. 50.00 First Edition: 2017 ISBN: 978-93-86771-56-8 Bhai Vir Singh (Punjabi poet) By Harbans Singh Translated by S.S. Narula Pp. 112, Rs. 15 Second Edition: 1995 Bharatendu Harishchandra (Hindi writer) By Madan Gopal Translated by Kuldeep Singh Pp. 56, Rs. 15 First Edition: 1984 Bharati (Tamil writer) By Prema Nand kumar Translated by Pravesh Sharma Pp. 103, Rs.50 First Edition: 2014 ISBN: 978-81-260-4291-3 Bhavabhuti (Sanskrit poet) By G.K. Bhat Translated by Prem Kotia Pp. 80, Rs. 15 First Edition: 1983 Chandidas (Bengali poet) By Sukumar Sen Translated by Nirupama Kaur Pp. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Indi@Logs Vol 8 2021, Pp 11-28, ISSN: 2339-8523
Indi@logs Vol 8 2021, pp 11-28, ISSN: 2339-8523 https://doi.org/10.5565/rev/indialogs.178 -------------------------------------------------------------------------------------------- “IS GANDHI THE HERO?”: A REAPPRAISAL OF GANDHI’S VIEWS ABOUT WOMEN IN DEEPA MEHTA’S WATER PILAR SOMACARRERA-ÍÑIGO Universidad Autónoma de Madrid [email protected] Received: 26-11-2020 Accepted: 31-01-2021 ABSTRACT Set in 1938 against the backdrop of India’s anti-colonial movement led by Gandhi, the film Water (2005) by Deepa Mehta crudely exposes one of the most demeaning aspects of the patriarchal ideology of Hinduism: the custom of condemning widows to a life of self-denial and deprivation at the ashrams. Mehta has remarked that figures like Gandhi have inspired people throughout the ages. Nonetheless, in this essay I argue that under an apparent admiration for the figure of Gandhi in the context of the emancipation of India in general and widows in particular, Water questions whether Gandhi’s doctrines about the liberation of women were effective or whether, on the contrary, they contributed to restricting women to the private realm by turning them into personifications of the Indian nation. In this context of submission and oppression of women in India, Gandhi did try to improve their conditions though he was convinced that gender is destiny and that women’s chastity is connected to India’s national honour. I argue that Mehta’s film undermines Gandhi’s idealism by presenting images of him and dialogues in which he is the topic. As a methodological approach, I propose a dialogic (Bahktin 1981) reading of the filmic text which analyses how a polyphony of voices praise and disparage the figure of Gandhi in Water. -
Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.793 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.793 (IIFS) THE CULTURAL GEOGRAPHY OF PUBLIC SPACE IN DEEPA MEHTA’S ELEMENTS TRILOGY Abhilash Dey M.Phil Scholar Department of English University of Burdwan, West Bengal, India Abstract The following article takes up the representation of heterotopic public places and lived spaces in the visual story arcs of (celebrated Indian- Canadian filmmaker) Deepa Mehta for a closer probe. She has made her mark in the map of world cinema with her outstanding and thought- provoking feminist movies such as Water, Fire and Earth. A spokesperson of Indian women's plight, she leaves no stone unturned in portraying the telling helplessness of Indian women, in times past and times present. This paper also travels across the theories propounded by Foucault, Marc Augé and Ray Oldenburg and frequently seeks its sustenance from the matchless erudition of film-critic, Roger Ebert. The lived experiences of the pivotal protagonists involved in the sad-glad process of lives and times take place more in the public space than in the home space, and therein lies the crux of this proposed investigation. The spatiality of the relationship dynamic that attains fruition in the home space actually finds its fountainhead in the public space abroad. Deepa Mehta's visual rhetoric adduces support to the points driven home in this article. This is the epoch of space, the epoch of simultaneity and juxtaposition—to reiterate Foucault from his 1967-published treatise on discursive other space, “Of Other Spaces: Utopias and Heterotopias”. -
Fire: a Critique of Hindu Patriarchy
INTERNATIONAL JOURNAL FOR INNOVATIVE RESEARCH IN MULTIDISCIPLINARY FIELD ISSN – 2455-0620 Volume - 3, Issue - 6, June - 2017 Fire: A Critique of Hindu Patriarchy Richa Sharma PhD Scholar, Department of English, University of Jammu, J & K, India. Email - [email protected] Abstract: Diversity of religions, languages, customs and traditions in India make it more beautiful and unique. Though the beauty, richness and uniqueness of India is appreciable but it has a darker side too i. e. Indian society is intrinsically patriarchal. The basis of this patriarchy can be traced in the Indian religions because Indians consider themselves as religious (so-called religious) and turn to the religion for guidance. As compared to the Vedic period or ancient times, the status and position of women has worsened over the period of time under the larger umbrella concepts of religion and patriarchy. Since time immemorial, literature and cinema has remained the mirrors of the society. They represent the vices and follies of their respective ages. Though the Indian cinema has always been criticized for its ignoring the issues of gender yet there are several films which represent gender disparity due to patriarchal society. In this article, I’ll be discussing Fire and Astitva as critiques of and against Hindu patriarchy. Key Words: Religion, patriarchy, discrimination, cinema, male chauvinism. 1. INTRODUCTION: India is a land of diversity of religions, languages, customs and traditions. This diversity makes India more beautiful and unique than any other nation of the world. Though the beauty, richness and uniqueness of India is appreciable but it has a darker side too i. -
India in Film
INDIA IN FILM AL&C 30, Mead 115 (Stirn), T Th 2:00-3:20 Professor Emeritus David B. Reck Office hours: T Th 3:30-4:15 [email protected] in Schwemm snack bar Mail: Dept. of Asian Languages and Civilizations Or by appointment AC Box #2242, 110 Webster, AC Films: Except for films to be viewed in class Kal( Ho Naa Ho) you are expected to view all assigned films (marked byHH ) in their entirety in advance of the class in which they will be discussed. All films will be on reserve in Frost on DVD and/or VHS and available in streaming (DVD only). Reading: There will be a handout and reading for each of the starred HH films below, available along with the syllabus on the course website as an e-reserve, plus supplemental readings. Attendance: in class is expected & will be monitored and factored into grade. Papers: Keep a logbook with writings on each of the starred HH films in the course. The logbook will be turned in several times during the semester. Several short papers (2–3 pages on films and topics as assigned, due in class in which film is dis- cussed), hard copies only, 2 multiple choice exams in class and a final exam involving viewing of film segments. Papers may be e-mailed only as a backup copy. NB: Late work will be marked down. Syllabus Week 1 Tuesday, 26 January. Fantasy/(Un)Reality/ Filmic Reality Thinking about film; “reading” film. Screening in class and begin viewing/discussion ofKal Ho Naa Ho in class Thursday, 28 January. -
Festival of Letters 2014
DELHI Festival of Letters 2014 Conglemeration of Writers Festival of Letters 2014 (Sahityotsav) was organised in Delhi on a grand scale from 10-15 March 2014 at a few venues, Meghadoot Theatre Complex, Kamani Auditorium and Rabindra Bhawan lawns and Sahitya Akademi auditorium. It is the only inclusive literary festival in the country that truly represents 24 Indian languages and literature in India. Festival of Letters 2014 sought to reach out to the writers of all age groups across the country. Noteworthy feature of this year was a massive ‘Akademi Exhibition’ with rare collage of photographs and texts depicting the journey of the Akademi in the last 60 years. Felicitation of Sahitya Akademi Fellows was held as a part of the celebration of the jubilee year. The events of the festival included Sahitya Akademi Award Presentation Ceremony, Writers’ Meet, Samvatsar and Foundation Day Lectures, Face to Face programmmes, Live Performances of Artists (Loka: The Many Voices), Purvottari: Northern and North-Eastern Writers’ Meet, Felicitation of Akademi Fellows, Young Poets’ Meet, Bal Sahiti: Spin-A-Tale and a National Seminar on ‘Literary Criticism Today: Text, Trends and Issues’. n exhibition depicting the epochs Adown its journey of 60 years of its establishment organised at Rabindra Bhawan lawns, New Delhi was inaugurated on 10 March 2014. Nabneeta Debsen, a leading Bengali writer inaugurated the exhibition in the presence of Akademi President Vishwanath Prasad Tiwari, veteran Hindi poet, its Vice-President Chandrasekhar Kambar, veteran Kannada writer, the members of the Akademi General Council, the media persons and the writers and readers from Indian literary feternity. -
"Translating Enlightenment: Towards a Transcultural Meaning Of
11th Annual International Colloquium of the Society for Activities and Research on the Indian World, Villetaneuse, 26-27-28 May 2016 Abstracts Special Lectures Jon SOLOMON: "Translating Enlightenment: Towards a transcultural meaning of Enlightenment." This lecture proposes to explore a transcultural meaning of "Enlightenment" through an encounter between Madhyamaka Buddhism and contemporary critiques of Kantianism inspired by Object-Oriented Ontology. The concept of "translation-as-Enlightenment" in relation to the affective multitude of existence is explained in relation to ideas about causality, compassion, translation, aesthetics, epistemology and politics. Keywords: aesthetic causality, Steven Shaviro, Timothy Morton, Madhyamaka, Nagarjuna, Immanuel Kant, translation, Naoki Sakai, Gilbert Simondon, Michel Foucault, Enlightenment. Naomi APPLETON: "Jataka Stories as Indian Literature." This lecture explores the early history of the jātaka genre and its relation to other bodies of Indian literature. It asks to what extent a jātaka can be defined, how jātakas functioned within early Buddhist communities, and how their particular generic conventions allowed for both distinctively Buddhist perspectives and the inclusion of wider Indian narrative motifs. The relationship between jātaka literature and other early Indian narrative texts, such as Jain scriptures and the Hindu Mahābhārata, will also be explored. *** Neekee CHATURVEDI: "Recovering the Repressed, their Oppression and Coping Strategies through the Jātaka Tales." The Jᾱtakas are a valuable resource for reconstructing various aspects of everyday lives of ordinary people. They also touch upon aspects of their relations with the elite, the repression that they had to suffer and the strategies they devised to cope with a society marked by deep differences based on caste, class and gender. -
Final Thesis Draft May 2010
CROSSING OVER: THEORISING MEHTA’S FILM TRILOGY; PRACTISING DIASPORIC CREATIVITY SUKHMANI KHORANA B Media (Hons) Adelaide A Thesis submitted to the Faculty of Humanities and Social Sciences in Fulfilment of the Requirements for the Degree of Doctor of Philosophy in Media, The University of Adelaide, February 2010 DECLARATION Candidate’s Declaration This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution to Sukhmani Khorana and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library catalogue, the Australasian Digital Theses Program (ADTP) and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. Sukhmani Khorana 2 ACKNOWLEDGEMENTS This research project would not have been possible without the conceptual assistance and pastoral support provided by my principal supervisor, Associate Professor Mary Griffiths, and co-supervisor, Dr Ros Prosser. I have been fortunate to receive their intellectual insight to help shape the evolving content and form of my work. Associate Professor Griffiths has taught me the value of rising above theory to formulate my own argument. -
India in the Mirror of World Fiction
francesca orsini INDIA IN THE MIRROR OF WORLD FICTION hat is Indian literature? The question is sharply posed in this fine and, in many respects, polemical col- Wlection, whose explicit aim is to rebut prevailing Western expectations of what postcolonial Indian fiction ought to be.1 Its editor Amit Chaudhuri argues that the critical and com- mercial reception accorded Midnight’s Children has erected Rushdie’s work as ‘a gigantic edifice that all but obstructs the view of what lies behind’. This in turn has created a highly prescriptive set of assump- tions. First: the new Indian novel must be written in English, the only language deemed capable of capturing modern subcontinental realities: Hindi, Tamil, Bengali, Urdu and the rest need not apply. Secondly, while eschewing realism, its tone and structure must be relentlessly mimetic: since India was a ‘huge baggy monster’ its fiction, too, must be vast and all-inclusive. Its voice must be ‘robustly extroverted’, clamorously polyphonic, rejecting any nuance or delicacy. Its subject-matter must be fantastical, its narrative non-linear: ‘Indian life is plural, garrulous, ram- bling, lacking a fixed centre, and the Indian novel must be the same’. All this, as Chaudhuri points out, rides roughshod over ancient and modern traditions of miniaturism in the Subcontinent—the use of ellip- sis, rather than inclusion, as an aesthetic strategy. It ignores the crucial role of the novella and short story in Indian fiction—a genre Tagore introduced from France in the late nineteenth century, before it