DOCSLIB.ORG

Sita Sings the Blues | Sita Chante Le Blues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sita Sings the Blues | Sita Chante Le Blues Fiche pédagogique Sita chante le blues Projections dans le cadre du Festival de films de Fribourg Titre original : Sita Sings the Résumé monde deux garçons et disparaî- Blues tra. Sita est une déesse indienne et Film d'animation long métrage, l'épouse dévouée de Rama. Elle En parallèle à cette histoire my- Etats-Unis, 2009 suit son mari dans un exil de 14 thologique, une jeune Américaine, Production, réalisation, anima- ans dans la forêt. Elle se fait kid- Nina (la réalisatrice), rejoint son tion, montage et scénario : napper par le démon Râvana, roi mari en Inde jusqu’à ce que leur Nina Paley (d'après le conte de Lanka, mais sera libérée par le couple se sépare et qu’elle rentre mythologique Râmâyana) dieu singe, Hanuman, et son ar- aux Etats-Unis. Elle se fera quitter mée. Puis, répudiée par son mari par email et se retrouvera seule qui la croit infidèle, elle mettra au Version originale : anglaise Sous-titres : français, allemand ou lecture simultanée en fran- ___________________________________________________ çais ou en allemand Commentaires Durée : 1h22 Public concerné : 9 ans et Alike), permettant la libre dis- plus; ce film convient au Adaptation musicale du Râ- tribution, la copie et la modifi- élèves du cycle 2, voire au mâyana, célèbre épopée de la cation, c’est à-dire-que l’œuvre cycle 3 mythologie indienne, Sita sings n’est pas protégée de façon the Blues mêle tragédie an- restrictive. On peut la téléchar- cienne et comédie contempo- ger en qualité HD gratuitement raine. Ce film a été entièrement sur le web. réalisé, scénarisé, animé et monté par Nina Paley. Il est Nina Paley, dessinatrice de composé de saynètes, cha- bande dessinée et réalisatrice cune dans quatre styles gra- américaine née en 1968, met phiques différents. habilement en parallèle la lé- gende de Sita et sa propre Le film a été primé au Festival histoire, jamais vraiment direc- du Film d’Animation d’Annecy tement. Les deux récits parlent et il a reçu une mention spé- de femmes répudiées ou quit- ciale au Festival de Berlin en tées par leur mari pour des 2008. Le film, sous l’impulsion raisons obscures. De même, de la réalisatrice, est distribué les chansons jazzy des années sous une licence libre (Creative 20 d’Annette Hanshaw, mises Commons Attribution-Share dans la bouche de Sita, con- tent les amours perdues et les paroles (en anglais) des chan- déceptions sentimentales. Ces sons et leur donne un second histoires de couple question- et différent souffle dans la Disciplines et thèmes nent l’égalité et les relations bouche de Sita and dans le concernés : hommes-femmes à travers le contexte de l’Inde ancienne. temps et les cultures. Vu sous La voix d’Annette Hanshaw Arts: S'imprégner de divers cet angle, Sita chante le blues peut être considérée comme le domaines et cultures artis- s’adresse tout aussi bien aux troisième rôle féminin. De plus, tiques (objectif A 24 AC&M du adolescents qu’aux adultes. il est intéressant de constater Plan d'études romand) Toutefois, le film peut être bien avec les élèves l’anachronisme reçu par des plus jeunes, no- de ce choix musical. Formation générale, MITIC : tamment grâce aux séquences Décoder la mise en scène de musicales, à l’humour du film Les scènes avec les marion- divers types de messages et aux visuels ludiques et va- nettes d’ombres indonésiennes (explorer les principaux élé- riés. marquent un autre genre de ments qui composent une narration. A la manière d'un image fixe ou animée et du Nina Paley différencie les uni- chœur antique, elles débattent rapport entre l'image et le vers grâce à des traitements de la chronologie du conte et son ; identifier les stéréotypes graphiques variés, allant du commentent le rôle des per- les plus fréquents) (objectif FG dessin au trait à la peinture sonnages. Chacune ayant un 21 du PER). figurative traditionnelle in- point du vue et un avis marqué, dienne, du découpage au col- elles apportent un aspect co- lage. Le radical changement mique au film. Leur anglais est Français, langues : Enrichir stylistique de ces séquences coloré d’un fort accent indien. sa compréhension et sa pra- apporte un dynamisme au film. Elles sont comme des com- tique langagière par l'éta- mentateurs d’un match sportif, blissement de liens avec des Les interludes musicaux sont comme des voisines qui rado- langues différentes (objectifs chorégraphiés sur les chan- tent... L1 27 du PER) sons d’Annette Hanshaw, une chanteuse de jazz des années Sita sings the Blues est ainsi Produire des textes oraux 20. La Sita chanteuse devient un film riche qui ouvre de nom- variés propres à des situa- ainsi une Betty Boop de Bolly- breuses pistes de réflexion à tions de la vie courante (ex- wood. Ces chansons pour- plusieurs niveaux, et de dis- pression d'une opinion ; utilisa- raient être interprétées comme cussions intéressantes pour tion d'expressions qui montrent un troisième récit interne. En des classes de pré- la position de l'émetteur) (ob- effet, Nina Paley joue sur les adolescents ou d'adolescents. jectif L1 24 du PER) ___________________________________________________ Géographie : Identifier les relations existant entre les Objectifs pédagogiques activités humaines et l'orga- nisation de l'espace (objectif SHS 21-23 du PER) Approcher un conte par différents angles, par différents médias. Découvrir le vocabulaire relatif au monde du cinéma et du film Histoire : Identifier la ma- d’animation. nière dont les Hommes ont Décrire des images et différencier des styles graphiques. organisé la vie collective à Différencier des types narratifs (narrateur – énonciateur – acteur – travers le temps, ici et ail- commentateur - …). leurs… (objectif SHS 22 du Détailler la structure d’un conte. PER) Donner son impression sur un conte ou sur un film. Discuter de la notion de genre et de l’égalité homme-femme. Ethique et cultures reli- Découvrir différents espaces géographiques et historiques, les si- gieuses : Eveiller aux sens tuer sur une carte et se repérer par rapport à ceux-ci. des valeurs humanistes et ___________________________________________________ religieuses et identifier le fait religieux (objectif SHS 25 du Approcher le conte mythologi- PER) Pistes pédagogiques que de Râmâyana par différents Avant de voir le film… angles, par différents médias. 2 Tout d’abord par la lecture, puis Après avoir vu le film… par l’écoute de la musique, par l’observation de différents arts 1. Comparer le film au récit traditionnels, par le visionnage de du Râmâyana. supports audiovisuels sur internet, par l’observation d’une carte géo- Nina Paley l’a-t-elle adapté, modi- graphique, … fié, ou est-elle fidèle au texte ? Travailler sur les représentations. Les personnages sont-ils simi- laires ? 1. Lire le conte de Râmâyana et Sita est-elle telle qu’on se la re- l’analyser présente dans le film ? A-t-elle Quels sont les personnages prin- plusieurs « visages » ? cipaux ? Quels sont les personnages se- 2. Analyser les deux récits condaires ? du film. A quelle période se déroule le conte ? Comment la réalisatrice met-elle Dans quels lieux se déroule le en parallèle sa vie personnelle et conte ? Situer une carte. celle du conte ? En quoi les deux Quels sont les thèmes, le sujet ou histoires peuvent être similaires la morale du conte ? ou différentes ? Que pouvez-vous en conclure ? Comment les deux femmes, Sita et Nina, peuvent-elles être compa- 2. Ecouter différentes musiques rées ? indiennes, traditionnelles ou actuelles. 3. Analyser les différents Visionner des vidéos de danse, types de séquences. de théâtre d’ombres, de films d’animation,… Quels sont les différents types de Références proposées : scènes et comment sont-ils repré- http://www.dailymotion.com/video/ sentés graphiquement et par la xjdg7_indonesie-ramayana_travel bande sonore ? http://www.dailymotion.com/video/ Classer les types de séquences x50rcp_hindu-epic-ramayana- sur un plan graphique, narratif et ballet-java-ind_travel#rel-page-2 musical. Observer les récur- rences. http://www.dailymotion.com/video/ x31t0g_danse-balinaise-le- Recourir à la fiche 1 (en annexe). ramayana_travel Observation http://www.dailymotion.com/video/ 4. La musique xmj25a_le-ramayana-reportage- Comment la musique est-elle france-3_creation#rel-page-1 traitée ? Quelle place a-t-elle dans le film ? http://www.dailymotion.com/video/ Y a-t-il différents x848d7_le-ramayana-extraits-de- genres musicaux ? repetition_creation Que peut-on dire des interludes musicaux où Sita chante « le 3. Observer des dessins ou blues » sur les chansons créations de l'art indien et java- d’Annette Hanshaw ? nais qui représentent Râmâya- na. 5. Observer les styles gra- http://lalitavistara.free.fr/Hinduism/ phiques Hinduism_Pages/Ramayana.htm Quelles sont les différentes tech- http://www.bl.uk/onlinegallery/wha niques utilisées ? tson/exhibitions/ramayana/guide.h Qu’évoquent les différents styles tml graphiques ? 3 6. Exprimer son avis. Donner son appréciation sur le film. Aiguiser son sens critique. ___________________________________________________ Activités proposées 1. Pour les plus jeunes : 2. Pour les plus âgés : Kamishibai : représen- créer un conte en lien ter graphiquement le avec son propre vécu, conte de Râmâyana et avec les techniques du le raconter avec le photo-montage, du col- support du kamishibai. lage, du dessin et de l’écriture. ___________________________________________________ Pour en savoir plus Nina Paley et Sita chante le Blues http://www.sitasingstheblues.com/ http://www.ninapaley.com/ La musique : http://www.sitasingstheblues.com/SitaCueSheet.pdf Le Râmâyana Les Contes de Ramayana, Sand, Paris,1985. Le Ramayana de Valmiki, Gallimard Pléiade, Paris, 1999. Rāmakerti I - "La Gloire de Rāma", Pou S. et Mikaelian G., L'Harmat- tan, 2007. Le Ramayana de Valmiki illustré par les miniatures indiennes du XVIe au XIXe siècle, 7 vol., Éd. Diane de Selliers, La grande collection, 2011. http://indianred.pagesperso-orange.fr/ramayana.htm Autre adaptation filmique : « The Prince of Light - the Legend of Ramayana », de Yugo Sako, Ram Mohan (Japon, 1992) genre : manga ___________________________________________________ Maude Paley, enseignante au degré primaire, Vevey, février 2012.
Load more

Recommended publications
  • Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films.
    [Show full text]
  • Act East: Asean-India Shared Cultural Heritage
    ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE Culture is the key to the India-ASEAN partnership. Shared histori- cal ties, culture and knowledge continue to underpin India’s sustained interactions with Southeast Asia. The commonalities between India and Southeast Asia provide a platform for building synergies with the countries of the region. As India’s engagement with the ASEAN moves forward with support of the Act East Policy (AEP), the socio-cultural linkages between the two regions can be utilized effectively to expand collaboration, beyond economic and political domains into areas of education, tourism ACT EAST: and people to people contact. This book presents historical and contemporary dimensions between India and Southeast Asia with particular reference to cultural heritage. One of the recommenda- ASEAN-INDIA tions of this book is to continue our efforts to preserve, protect, and restore cultural heritage that represents the civilisational bonds SHARED CULTURAL between ASEAN and India. The book will serve as a knowledge product for policymakers, academics, private sector experts and HERITAGE regional cooperation practitioners; and is a must-read for anyone interested in the cultural heritage. fodkl'khy ns'kksa dh vuqla/ku ,oa lwpuk iz.kkyh Core IV-B, Fourth Floor, India Habitat Centre ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE ASEAN-INDIA SHARED CULTURAL ACT EAST: Lodhi Road, New Delhi-110 003, India Tel.: +91-11-2468 2177-80, Fax: +91-11-2468 2173-74 AIC E-mail: [email protected]; [email protected] AIC fodkl'khy ns'kksa dh vuqla/ku
    [Show full text]
  • SITA SINGS the BLUES Generation SITA SINGS the BLUES 14Plus SITA SINGS the BLUES Regie: Nina Paley
    K14_1891:K14_ 24.01.2008 20:42 Uhr Seite 316 Berlinale 2008 SITA SINGS THE BLUES Generation SITA SINGS THE BLUES 14plus SITA SINGS THE BLUES Regie: Nina Paley USA 2007 Animationsfilm Länge 82 Min. Format 35 mm, 1:1.78 Farbe Stabliste Buch Nina Palay, nach dem Versepos „Ramayana“ von Valmiki Animation, Schnitt Nina Paley Ton Greg Sextro Musik Todd Michaelsen Produzentin Nina Paley Produktion Nina Paley 415 W. 44th Street, Apt. 20 USA-New York NY 10036 Tel.: +1 212 7577786 [email protected] SITA SINGS THE BLUES In ihrem Animationsfilm verknüpft die Regisseurin die Geschichte der Sita, Weltvertrieb noch offen einer Gottheit aus dem indischen Nationalepos „Ramayana“, mit der Geschichte einer Frau von heute. Die ist gerade von ihrem Mann verlassen worden, der ihr die Trennung in einer E-Mail mitgeteilt hat. In dem indischen Märchen wird Sita dem Prinzen Rama zur Frau gegeben, der bei einem Wett streit um die Hand der Königstochter die anderen ange- tretenen Prin zen besiegt. Als Rama zum Kronprinzen ernannt werden soll, wird er nach einer Intrige für 14 Jahre in die Verbannung geschickt. Sita beglei tet ihren Mann, doch wird sie kurz darauf entführt. Mit Hilfe ihm freundlich gesinnter Götter nimmt Rama die Verfolgung auf und kann sie nach gefährlichem Kampf befreien. Rama und Sita kehren in ihre Heimat zurück, wo Rama zum König gekrönt wird. Doch weil er an Sitas Treue zwei- felt, verstößt Rama seine Frau schon bald. Darauf unterzieht sich Sita einer Feuer probe, die sie unverletzt übersteht, und kehrt zu Rama zurück. In ihrem Debütfilm vereint die Regisseurin die unterschiedlichsten Ele men te vom klassischen Zeichentrickfilm bis zur computergenerierten 3-D-Ani ma - tion mit einem Score, der indische Musik mit den Hits von Annette Hanshaw, dem lasziven Star der 20er Jahre, kombiniert.
    [Show full text]
  • Many Arrows from Rama's Bow: Paintings of the Ramayana
    Ann P. Wyckoff Teacher Resource Center Educator Resource List Many Arrows from Rama’s Bow: Paintings of the Ramayana September 1–December 2, 2012 BOOKS FOR STUDENTS RESOURCES FOR EDUcaTORS Indian Children’s Favourite Stories by Somaiah, Books & Resource Guides Rosemarie. North Clarendon, VT: Tuttle Publishing, 2006. 5,000 Designs and Motifs from India by Mookerjee, Ajit. PZ 8.1 S55 Mineola, NY: Dover Publications, 1996. NK 1476 A1 A18 A delightful collection of Indian folk tales retold for Collection of copyright-free designs from a wide range of children. unique and decorative Indian artistic styles. The Little Book of Hindu Deities: From the Goddess Beliefs Made Visible: Understanding South Asian Hindu of Wealth to the Sacred Cow by Patel, Sanjay. London: and Buddhist Art by Hogarth, Brian and the Asian Art Penguin Books, 2006. NB 1912 H55 Museum of San Francisco. San Francisco, CA: Department Short descriptions of Hindu god and goddesses, with of Education, Asian Art Museum, 2004. original illustrations. CURR GD N 7301 H63 This packet contains CD of images exclusively illustrating Mama’s Saris by Makhijani, Pooja. New York: Little, Brown art from India. and Company, 2007. PZ 7 M282545 An East Indian American daughter pleads with her mother Hands–On Asia by Merrill, Yvonne Y. Salt Lake City: Kits to be allowed to wear one of her mother’s colorful saris in Publishing, 1999. N 7260 M47 honor of her seventh birthday. Step–by–step instructions, tied to curricula, for over thirty art activities related to Asia. Rama and the Demon King: An Ancient Tale from India by Souhami, Jessica.
    [Show full text]
  • |||GET||| Concise Ramayana of Valmiki 1St Edition
    CONCISE RAMAYANA OF VALMIKI 1ST EDITION DOWNLOAD FREE Swami Venkatesananda | 9780887068638 | | | | | Index Ramayana, First Edition Again, wrong. Seller Rating:. View basket. I should probably go back and re-read it, because I really don't know what it was The original poem is tremendously long - usually running for at least three large volumes in translation. No colour, limited contrast - by which I mean they are not boldly drawn, but subtly drawn, and they are excellent. I found that this telling captured how I'd felt about the Ramayana, having grown up listening to all the stories as part of nightcaps or preludes to evening prayers, living both unashamedly indian and unconfusedly western lives. A good time is had by all including the bad guys and girls who, having been resoundingly defeated, just seem happy to have resolved some of their karma as Anyone who wants to know how the gods and goddesses really live should read this. Trivia About Ramayana. The book constantly tells me that he is noble, honourable, brave, etc etc, but these traits are never shown in action, in fact much like Achilles he seems like more of a sulky little baby through much of the book. The following traditional Sanskrit commentaries on the Yoga Vasistha are extant: [23]. Random musings: - All the old myths and epics I've read always describe the Men as beautiful, having slender faces and almond-shaped eyes and smooth complexion. Ramayana Mahabharata. What really cemented my dislike for Rama was in the final pages. Lazarus and co. It is a well-known Indian epic.
    [Show full text]
  • 3.Hindu Websites Sorted Country Wise
    Hindu Websites sorted Country wise Sl. Reference Country Broad catergory Website Address Description No. 1 Afghanistan Dynasty http://en.wikipedia.org/wiki/Hindushahi Hindu Shahi Dynasty Afghanistan, Pakistan 2 Afghanistan Dynasty http://en.wikipedia.org/wiki/Jayapala King Jayapala -Hindu Shahi Dynasty Afghanistan, Pakistan 3 Afghanistan Dynasty http://www.afghanhindu.com/history.asp The Hindu Shahi Dynasty (870 C.E. - 1015 C.E.) 4 Afghanistan History http://hindutemples- Hindu Roots of Afghanistan whthappendtothem.blogspot.com/ (Gandhar pradesh) 5 Afghanistan History http://www.hindunet.org/hindu_history/mode Hindu Kush rn/hindu_kush.html 6 Afghanistan Information http://afghanhindu.wordpress.com/ Afghan Hindus 7 Afghanistan Information http://afghanhindusandsikhs.yuku.com/ Hindus of Afaganistan 8 Afghanistan Information http://www.afghanhindu.com/vedic.asp Afghanistan and It's Vedic Culture 9 Afghanistan Information http://www.afghanhindu.de.vu/ Hindus of Afaganistan 10 Afghanistan Organisation http://www.afghanhindu.info/ Afghan Hindus 11 Afghanistan Organisation http://www.asamai.com/ Afghan Hindu Asociation 12 Afghanistan Temple http://en.wikipedia.org/wiki/Hindu_Temples_ Hindu Temples of Kabul of_Kabul 13 Afghanistan Temples Database http://www.athithy.com/index.php?module=p Hindu Temples of Afaganistan luspoints&id=851&action=pluspoint&title=H indu%20Temples%20in%20Afghanistan%20. html 14 Argentina Ayurveda http://www.augurhostel.com/ Augur Hostel Yoga & Ayurveda 15 Argentina Festival http://www.indembarg.org.ar/en/ Festival of
    [Show full text]
  • Sita Sings the Blues
    Journal of Religion & Film Volume 13 Issue 2 October 2009 Article 16 October 2009 Sita Sings the Blues Kevin V. Dodd Watkins College of Art, Design, and Film, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Dodd, Kevin V. (2009) "Sita Sings the Blues," Journal of Religion & Film: Vol. 13 : Iss. 2 , Article 16. Available at: https://digitalcommons.unomaha.edu/jrf/vol13/iss2/16 This Film Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Sita Sings the Blues Abstract This is a review of Sita Sings the Blues (2008). This film er view is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol13/iss2/16 Dodd: Sita Sings the Blues Sita Sings the Blues resists a quick summary, but it has already received a number of standard reviews and has its own website.1 In this review, therefore, I wish to concentrate on some of the religious and social issues raised by the film. The Hindu epic, The Ramayana,2 has been gaining traction in the West over the last several decades. Nothing displays this so vividly as the rising popularity of this very personal film, which credits the story with aiding the writer and director through the pain of separation and divorce. This is particularly interesting since the director, Nina Paley, is Jewish. Through the use of diverse and highly engaging animation techniques, she tells a very pared-down version of The Ramayana, intersecting it with the story of the loss of her own marriage.
    [Show full text]
  • Mythical Beings and Becoming: Emerging Identities of Art Educators in India Manisha Sharma the University of Arizona1
    Mythical Beings and Becoming: Emerging Identities of Art Educators in India Manisha Sharma The University of Arizona1 ABstraCT This essay layers the theoretical concepts of myth (Barthes, 1972) and becom- ing (Deleuze and Guattari, 1987) to examine how we might produtively read the identity of contemporary Indian art educators2 in order to understand the landscape of art education in India in a nuanced manner. Interpreting narra- tives of Indian art educators through the mythical concept of Laxmana-rekha, the concepts of myth and becoming are applied to make visible connections between Indian art educators’ choice of profession as influenced by social constructions of gender. The concept is also used to understand ways in which we receive and perceive the lessons of cultural mythologies in contemporary contexts of perceiving and constructing perceptions of art education. Myth and Becoming in the Context of Indian Art Educator Identity Vedanta, a school of Hindu philosophy, is often presented in narrative forms that greatly influence Indian ontology throughout history with- in and beyond Hinduism. These narratives, including those forming culturally significant texts such as the Upanishads, Mahabharata, and Ramayana, are read on multiple levels in India, namely philosophical, mythical, and historical. As such, they embody originary stories that often form and influence many of contemporary India’s value systems and biases in social roles (Chaube, 1992; Embree, 1988). In this paper, I layer the theoretical concepts of myth (Barthes, 1972)
    [Show full text]
  • An Intermedial Reading of Paley's Sita Sings the Blues
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 13 (2011) Issue 3 Article 12 An Intermedial Reading of Paley's Sita Sings the Blues Ipshita Chanda Jadavpur University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Chanda, Ipshita. "An Intermedial Reading of Paley's Sita Sings the Blues." CLCWeb: Comparative Literature and Culture 13.3 (2011): <https://doi.org/10.7771/1481-4374.1798> This text has been double-blind peer reviewed by 2+1 experts in the field.
    [Show full text]
  • Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
    AboutUs: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ ContactUs: http://www.the-criterion.com/contact/ EditorialBoard: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 11, Issue-IV, August 2020 ISSN: 0976-8165 Re-engaging with the Ramayana: A Comparative Guide to Devdutt Pattanaik’s Sita and Chitra Banerjee Divakurani’s The Forest of Enchantments Shikha Thakur Assistant Professor, Department of English, DAV University, Jalandhar Pb. Article History: Submitted-02/08/2020, Revised-22/08/2020, Accepted-23/08/2020, Published-31/08/2020. Abstract: This paper, while tracing the evolution of myth, sincerely attempts to draw the comparison between Devdutt Pattanaik’s Sita (2013) and Chitra Barejee’s The Forest of Enchantments (2019). While depicting just and an unbiased version of the Ramayana, Devdut Pattanaik and Chitra Banerjee Divakurani have profusely contributed in transforming Indian fiction by efficaciously blending mystery, mythology, religious symbolism and philosophy. Through their works they have wilfully remonstrated to the century old rigidly myopic versions of Indian mythologies; thereby re-illustrating its mythical relevance in modern India. However, this paper re-engages with the Ramayana endeavouring to compare the afresh version of the Ramayana in the two landmark books. While featuring the comparison, this paper not only discusses at length the origin of the term ‘myth’ but also juxtaposes the two basic nuances; character and theme of fiction out of the remaining five; plot, setting, point of view, style/form and tone.
    [Show full text]
  • Ramayana Loop | Ragnhild Laird Iversen USN
    Ramayana Loop | Ragnhild Laird Iversen USN Mt. Madonna School's annual Ramayana production: https://performingartsmontereybay.com/home/education/ Ramayana Loop | Ragnhild Laird Iversen USN Dette er fortellingen Ramayana. Det er en av de mest populære hellige tekstene i hinduismen. Teksten har blitt fortalt på mange forskjellige måter i over to tusen år. Den er laget som dikt, spillefilmer, tegnefilmer og skuespill. Dette er en måte å fortelle den på. Ramayana Loop | Ragnhild Laird Iversen USN Photo: Marcin Konsek / Wikimedia Commons / CC BY-SA 4.0 Ramayana Loop | Ragnhild Laird Iversen USN I Ramayana får du møte mange guder. Her er gudene Lakshmana, Rama, Sita og Hanuman. Dette er viktige guder for mange hinduer. Hinduer setter frem gaver til gudene. Å gi gaver og vise respekt for gudestatuene kalles pudsja. Når hinduer møter blikket til statuene føler de seg velsignet. Ramayana Loop | Ragnhild Laird Iversen USN Ramayana Loop | Ragnhild Laird Iversen USN En gang kom guden Vishnu til jorden som en prins. Han ble kalt Rama. Rama var klok, sterk og rettferdig. Han gjorde alltid det rette. Ingen var flinkere til å skyte med pil og bue enn Rama. Rama skulle bli konge i Ayodhya, et område i dagens India. Men en sjalu stemor sendte han ut i skogen. Broren Lakshman ble med han. Ramayana Loop | Ragnhild Laird Iversen USN Ramayana Loop | Ragnhild Laird Iversen USN Rama hadde en kone. Hun het Sita. Sita var en nedstigning av gudinnen Lakshmi. Hun var vakker, modig og en trofast kone. Hun gjorde alltid det rette, samme hvor vanskelig det var. Da Rama ble sendt vekk fra kongeriket og ut i skogen ble Sita med.
    [Show full text]
  • A Critical Study of the Visual Enunciations of Sita
    ISSN 2249-4529 www.pintersociety.com GENERAL ISSUE VOL: 7, No.: 2, AUTUMN 2017 UGC APPROVED (Sr. No.41623) BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re-use or republication permission, please contact [email protected] 102 | Different Sitas: A Critical Study of the Visual Enunciations of Sita Different Sitas: A Critical Study of the Visual Enunciations of Sita Geetanjali This paper will examine how different visual enunciations of Sita across diverse modes of reinterpretation leads to creation of not only newer images but also to newer meanings and newer social relations. I will take up three instances of the re-reading of the legend of Sita, across three diverse media of articulation, where-in the visual depiction of Sita plays a significant part in the formation of new and different Sitas: (i) a graphic novel, Sita’s Ramayana; (ii) a Malyalam feature film, Kanchan Sita; and (iii) an animated movie, Sita Sings the Blues. Although it cannot be claimed that the visual representation of Sita in these narratives gives a comprehensive account of position and role of women in the period that they are derived from, these narratives do constitute evidence of how the feminine has been perceived by the author of that particular narrative.
    [Show full text]