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A Journal of Arts, Humanities & Management BROAD THEME : EDUCATION DDCE Education for All DDCE, UTKAL UNIVERSITY, BHUBANESWAR, INDIA Vol - II, July, 2012 Editorial Board Prof. S. P. Pani, Director,DDCE, Utkal University, Bhubaneswar. Dr. M. R. Behera Lecturer in Oriya, DDCE, Utkal University, Bhubaneswar. Dr. Sujit K. Acharya Lecturer in Business Administration DDCE, Utkal University, Bhubaneswar. Dr. P. P. Panigrahi Executive Editor Lecturer in English, DDCE, Utkal University, Bhubaneswar. ISSN 0974-5416 Copyright : © DDCE, Utkal University, Bhubaneswar Authors bear responsibility for the contents and views expressed by them. Directorate of Distance & Continuing Education, Utkal University does not bear any responsibility. Published by : Director, Directorate of Distance & Continuing Education, Utkal University, Vanivihar, Bhubaneswar – 751007. India. Reach us at E-mail : [email protected] 91-674 -2585312 (O) 91-674 -2581106 ( Fax ) Setting & Printing: inteCAD 442, Saheed Nagar Bhubaneswar - 751 007 Ph.: 0674-2544631, 2547731 ii Indian English Novels: Some Reflections The Indian novel in English was the product of a demand for socio-political reforms, the revival of past traditions, the search for a national identity and the increasing awareness of the role of individual in society. Set against the backdrop of colonial India, the novel fascinated the common man with the novelty of its exotic form and its capability of representing a changing world in its various dimensions. The social-elite of the nineteenth century India modified the novel as a permanent art form. Imitating its text and context, from their Western counterparts, Indian novelists focused on man-woman relationships, imperial-colonial encounters, mysticism of the East, flavoured with social customs and traditions and love for the nation. Crossing linguistic barriers and religious sentiments, the novel developed a definitive structure concentrating on a compact study of mankind. Indian writing in English has gained immense popularity and recognition in the last two decades of the century. From Raja Rao to Salman Rushdie, the fictional writers have concentrated on changing societal patterns, transformation of values, and vastly, on the individual’s predicament in a society in transition. Rapid industrialization, scientific revolutions and upsurge of information technologies, have all led to a devaluation of ethics and crumbling of culture. Indian writers have constantly tried to adapt themselves to the changing scenario. These writers created awareness among the reading public and highlighted the stand of the Indian English novels. If Mulk Raj Anand, Bhabani Bhattachrya, R.K. Narayan, etc. were confined to academia, the From The Editor’s Desk... From The Editor’s Desk... From The Editor’s Desk... From The Editor’s Desk... From The Editor’s Desk... works of the new novelists became the symbol of upper-class elite, bringing with it urban culture and sophistication. Upamanyu Chatterjee, Amitav Ghosh, Vikram Seth, Raj Kamal Jha, Sashi Tharoor etc., are part of a hybrid culture, rooted in tradition and embracing the West for its receptivity and flexibility. Indianness for them is only a window to the outside world. Fiction allowed a more comprehensive study of the Woman’s Question. From the inner world of the zenanas, the female moved outside domesticity and tradition. Male writers placed woman as an icon of natural and social interest. The image of the dutiful wife, the iii devoted mother and submissive daughter was reveled at. Alongside, novelists underplayed the role of the emancipated woman; blending the Western notions of femininity with the traditional concept of the Indian woman. Women were placed within a social structure with the complexities of caste and class and thus projected the inter-relationships of gender and equality. Women were used as symbols of rebellion, heroic values and passionate desires. Social and political change in the post-independent India offered equal rights and opportunities for the Indian woman to develop her capabilities. Impact of Western education, convergence of liberalism to Indian order, a growing awareness of self-identity, called for a drastic change in the image of woman in society. It is through her presence and consciousness that the woman writer of the century sought greater conformity to individual freedom and recognition of the self. Diasporic writing by women conveys a new order of expression. From Arundhati Roy to Jhumpa Lahiri and Jayashree Misra, the novel conveys a vast “feminine mystique”. Writing about almost anything under the sun, these women novelists are aware of their society, principles, and ideologies, convention along with the power, the strengths and weaknesses of the woman. Globalization and market chemistry has reconstructed a space for the female author to voice her opinions. Geographically distanced, these writers reinstate Indian culture, value and ethics, along with the global phenomena of adjustment and adaptability. Though form, style, content and structure of the Indian English novels of the new generation appear to be a lineage of the old form, a clear-cut bifurcation in attitudes can be detected. If the male writers concentrated on the individual’s predicament, socio-economic-political changes; and an over simplification of the feminine; women writers have concerned themselves with the subtleties of oppression, issues of power in a patriarchal set up and the unjust marginalization of woman. The multitude of women’s writing (from Sobha De, Gita Mehta, Gita Hariharan et al to Arundhati Roy, Radhika Jha, Jhumpa Lahiri, etc.), is suggestive of the Indian woman’s creativity in handling the form and language of the novel. Full of possibilities, growth and grace, female writers have created characters who are strong, yet conforming to values; vibrant, yet enduring pain; prominent, yet having an anchorage towards coercive togetherness. They have broken silences, built bridges, filled in the gaps and still formed an identity of their own. Prajna Paramita Panigrahi Executive Editor, SEARCH * The views expressed are not of the Utkal University or of the State govt. of Odisha. They are the opinion of the author only. iv Contents Sl. Title Author Page No. No. 1. Let’s talk about Inglish in Bollywood: Some Samana Madhuri 1 post-factoreflections on the aftereffects of Post-liberalization and Globalization on Indian Cinema 2. Figure of the City in Pinaki Mohanty 10 Paul Auster’s City of Glass (1985) 3. Alchemy of the Soul: A Comparative Study of Rajendra Kumar Dash 17 Hermann Hesse’s Siddhartha and Paulo Coelho’s The Alchemist 4. Revisiting Ravana: The Myth of The Demon King Kriti K Kalia 24 Reconstructed in Arun Kukreja’s Dashaanan 5. Lal Behari Day’s Bengal Peasant Life: A Study Rajendra Dakua 33 of its Genre Defining Discourse 6. Style And Stylistics: A Conceptual Analysis Jayaprakash Paramaguru 40 7. The Punjab of Bollywood versus the Punjab of Punyashree Panda 52 Newspapers: Taking Stock of the Contemporary Minakshi Prasad Mishra Image of Punjab in Different Media 8. Socio-Cultural Background of Tribal Satyaban Garada 59 Culture in Odisha 9. From Parliament to Republic : A Study of Mrutyunjaya Mohanty 76 Colonial America’s Intellectual Journey 10. Orissa on the Eve of Independence: Dreams of Suryakant Nath 90 Greater Orissa and the lost Chances 11. A Historical survey of Indian Novels in English Smita Jha 99 12. Combating Patriarchy: A Reading Meera Mohanty 105 of Women in Shakespearean Comedies v 13. Between the Scylla of Marriage and Charybdis of Deepanjali Mishra 114 Career: An Analysis through Shobha De’s Novels 14. Entrepreneurship and Women Empowerment: GeetaSatpathy 119 An Inclusive Perspective Yajnaseni Mukherjee 15. Sakta Pithas Of Orissa- A Study on Banki Madhab Chandra Sethi 132 The Abode of Goddess Charchika 16. Myth And Magic Realism in Chitra N. Usha 142 Banerjee’s Narratives 17. To speak or not to speak: Implicature in Soumyajyoti Banerjee 147 Waiting for Godot Amrita Basu vvv vi Papers are invited for A Journal of Arts, Humanities & Management Guidelines for contributors : 1. Each paper be prefaced with an abstract not exceeding 300 words. A Bio-note on the author (s) will be needed. 2. The article should be within 6000 words including references etc. It should relate to Arts, Humanities and Management. 3. MLA style sheet or Chicago style sheet or APA style should be strictly followed. 4. Please use MSword and e-mail the article to : [email protected]. Send a hard copy by post in confirmation. Articles shall not be returned, but acceptance shall be intimated as soon as possible. Contact Dr. P. P. Panigrahi, Lecturer in English, DDCE, Utkal University, Bhubaneswar - 751007, India, for further details. You may reach Dr. P. P. Panigrahi at [email protected] 5. Authors may suggest names of References who are specialists in the field. 6. Published material shall not be considered. However, Papers published earlier in abstract format in proceedings of Seminars, Conferences and Workshops may be sent. Such details may be provided by the authors. 7. Authors are responsible for contents and views expressed in the article and DDCE shall bear no responsibility for the same. vii viii LET’S TALK ABOUT INGLISH IN BOLLYWOOD: SOME POST- FACTO REFLECTIONS ON THE AFTEREFFECTS OF POST- LIBERALIZATION AND GLOBALIZATION ON INDIAN CINEMA Samana Madhuri Power is not an institution, and not a structure; neither is it a certain strength we are endowed with; it is the name that one attributes to a complex strategical situation in a particular society1 . -Michel Foucault The earth is full of Indians, you know that, we get everywhere…Columbus was right, may be; the world’s made up of Indies, East, West, North. Damn it, you should be proud of us, our enterprise, the way we push against frontiers. Only thing is we are not Indian like you. You better get used to us…2 -Salman Rushdie from The Satanic Versus Since its inception as a culture industry Bollywood has been one of the biggest entertainment industries in the world, but its commercial cinema has always somehow been restricted to dual themes of love and marriage.