Narrative Prose and Its Different Types

Total Page:16

File Type:pdf, Size:1020Kb

Narrative Prose and Its Different Types Vol. 4(8), pp. 125-131, October, 2013 DOI: 10.5897/JLC11.073 Journal of Languages and Culture ISSN 2141-6540 ©2013 Academic Journals http://www.academicjournals.org/JLC Thesis Narrative prose and its different types Zahra Iranmanesh PhD Student in Persian Literature, Research and Science University of Tehran, Iran. E-mail: [email protected]. Accepted 22 November, 2012 INTRODUCTION: PROSE FORMS OR FRAMEWORKS In general, prose is a written word which is near to an meaning that beautiful statements are being used in it; it ordinary, colloquial and oral speech and lack of a literary has eloquence technique and also is arrayed with order, explanation; for example, the prose of several inscriptions arrangement and euphuism or rhythm. which is in a form of Dari language and literary expla- - Non narrative prose as scientific and technical one nation in them that indicates the aim of creating a work in overlooks the literal terms, in general, and considers the the form of Persian Prose is not clear (Zarin Koob, 1986). independent subject, in particular, and also explains it, In particular, prose is a word, although it is not a usual clearly; although it looks the long – drawn out explanation thing in poetry (be particular about rhythm and metric or and prolongation. tune), but involves a literary explanation which is com- mon between poetry and prose, discriminates unusual He divides the narrative and poetic prose as: prose from usual one and colloquial language and extracts speech from the scope of perceptions and - Novels, stories, narrations, and myths. ordinary explanations. Based on the view of deceased - Prose (written in prose) metaphors, ornamental samples, Malekol Shoarae Bahar (1958): "prose is a word or poetic criticism and writings. statement in which there is nothing except simple explanation and fulfilling the aim, free of internal emotions And the non narrative ones as: and feelings, for the speaker as the guidelines of the great ones to the subordinates, explaining an accident by - Scientific knowledge, policy and moral, philosophy and someone to the other or reporting an event that all of proverbs. them should be simple.1 - Translation from the other languages. Khatibi (1987) defines "Morsal Written Prose" which is - History. in the first stage of prose development as: "it is word in - Scientific prose includes encyclopedia, scientific which concepts and meanings are being explained with contents, Gnostic or mystical publications and writings of intellectual arrange, clearly and logically and the only task religious books, interpretations, medical books, and etc.3 in speak is explaining the meaning, sentences connect or link each other by observing the grammar points, the In Europe, prose was divided into four types (historical, meanings are being stated without any cut or deviations, narrative or fictional, educational and pertain to sermon :as the following (خطابی directly, and connecting or separating the sentences or speech depends on the thoughts' sequence, natural method and which is pertain to sermon or speech divided into خطابی - considering the grammar points."2 Ate (1972) divides Persian prose into two parts: narrative and poetic ones religious, panegyric and satirical type. and scientific or technical ones as the following: - Historical type includes historiography, yearbooks or calendars and diary (memories). - Narrative prose is in a relation with poetry, directly; - Narrative or fictional one involves the stories as acci- dental, criminal, emotional or pertains to love. 1 Bahar, Mohammad Taghi, Prose stylistics, V.2., P. 229. 2 Prose technique in Persian literature, p. 29. 3R. K. Ate, Herman., Iran Literature History, pp: 214 – 299. 126 J. Lang. Cult. - Educational type includes human, scientific and philo- Ghajar era (12th and 13th century of A.H.). In this era, sophical culture and also literal and cultural researches. memories, articles, and reports – for common or ordinary addresses- are being added to the previous ones and in , یا تک نگاری the contemporary time, monowriting and types of letters are یا حسب حال Narrative and non narrative prose description of condition being considered in these sets with a modern style. Human being during his life, for presetting the inner or Common patterns or forms in this type of prose include internal concepts and his thoughts in order to using the letter, travel accounts, biography, memories, articles, tongue, handwriting creation, and prose creates various reports, mono – writing, historiography, literary pieces patterns of prose; these patterns divided into two parts: and etc. narrative and non narrative ones. In the second type, the writer does not write based on the personal thoughts and imagination force and also Narrative prose forms or frameworks does not create a written work based on this. This type of prose is a result of accurate and perfect studies of a These texts are personality – oriented; the writer in these writer about a subject, place, life of a person, a fact which texts chooses appropriate personalities; distributes his / is available and etc that all of them must be created or her thoughts among them; encourages interaction among written by him / her. them – based on his / her thoughts, creates adventures Historical events or analysis of an event in the history is until the addresses discover his thought, aim and his as a report about something which is on hand or had message in the emotional space – which can be con- been available; it is a report of trip, travel, political or cealed in the heart of events or adventures by a simple social letter, memories or s.th like them which are in this mechanism and makes (creates) a permanent or domain (this type of prose). everlasting work in their mind. Types of this prose are as fictions, myths, stories, narrations and articles which were Narrative texts: current or common from the beginning of Persian prose - having narrator, in the Sassanian Era (4th century of A.H.) to the beginning - personality - oriented, of Safavieh Era (10th Century of A.H.) with various - having epical, lyrical and educational themes, themes. In this era, story – writing is being added to - having indirect message delivery, these patterns and in the Ghajar Era (12th and 13th - having narrative structure, century of A.H.), European stories – by translation prose - being written in the form of myths, story, tale, play or – became prevalent in the Persian prose and finally, in drama. the Pahlavi Era, form or frame of story became wide- spread in the Persian prose and abundant stories – short Non narrative texts: or long stories - were being written in different themes; - without narrator, afterwards, novel became prevalent; then, dramas and - person - oriented, scenarios or scripts with various themes were added. - having lyrical, educational, mystical, and philosophical Current forms in this type of prose are tale, kinds of themes, stories, novels, dramas and scripts. - having direct message delivery, - having reporting structure, - having real nature, Themes of all kinds of prose - being written in the form of letter, travel account and biography. Theme of prose in the narrative forms could be lyrical, epical, lyrical - epical (romance), educational, mystical, social – criticism and etc with serious style or tone. Non narrative prose forms or frameworks Theme of prose in the non – narrative forms could be informative, educational, mystical, historical, social – These texts are not personality – oriented; the writer in criticism and etc with serious style or tone. these texts organizes his / her thought in the appropriate ways and directions, makes a logical line among them, creates a conceptual arrangement (like a network) for INTRODUCING THE NARRATIVE PROSE FRAMES OR presenting his thoughts to the addressees ((persons) PATTERNS spoken to) and delivers his message, in detail, to them, directly. Ancient Persian texts are the valuable inheritance of the The patterns such as compositions, writings, letters, past as if it puts a sea full of knowledge, culture and thesis, history, travel account, and biography – for special wisdom for the survivors. addressees with various subjects, - were current from the Concealed points in the heart of tales and narrations beginning of Persian prose (fourth century of A.H.) to needs an active and lively soul, "the path of righteous- Iranmanesh 127 ness" relieves by drinking a sip of this wineglass (cup) story. There are different definitions about narration. In and directs them to drinking another cup, eagerly. simplest meaning, narration is a text which explains a Passing of times did not decrease the concealed magic in story and has a story – teller. For example, Scolzokelag, its words and concepts and did not influence on the in "narration – identity", defines narration as: " all literary manifestation of bright lights of its sentences and very texts have two features: story and story – teller".5 likely, its value increased as a gem in the shell. Persian tales are formed from two elements; narration Now, this is a large sea of culture and thought in front and educational point. In comparison with the forms of of us! Which warp and woof in the pattern of a left narrative structures in these days, a story is similar to narration by a narrator's pen could find a novel narration short story and longest ones are similar to long stories in the form of new media as television with special and novels. In any case, the element of narration in each pronunciation of this space and time in the other wear? fictional work allows its story to be present in the different fictional and performing forms and being narrated from tongue of several narrators. Narration is a succession of Persian tales of oral stories or tales' inheritors events but it should not be thought; if a succession of Iranian telling – story has a long background; it is very events put or place next each other, it can form a long, delicate and artistic that attributed to Iranians.
Recommended publications
  • Classical Persian Literature Bahman Solati (Ph.D), 2015 University of California, Berkeley [email protected]
    Classical Persian Literature Bahman Solati (Ph.D), 2015 University of California, Berkeley [email protected] Introduction Studying the roots of a particular literary history enables us to better understand the allusions the literature transmits and why we appreciate them. It also allows us to foresee how the literature may progress.1 I will try to keep this attitude in the reader’s mind in offering this brief summary of medieval Persian literature, a formidable task considering the variety and wealth of the texts and documentation on the subject.2 In this study we will pay special attention to the development of the Persian literature over the last millennia, focusing in particular on the initial development and background of various literary genres in Persian. Although the concept of literary genres is rather subjective and unstable,3 reviewing them is nonetheless a useful approach for a synopsis, facilitating greater understanding, deeper argumentation, and further speculation than would a simple listing of dates, titles, and basic biographical facts of the giants of Persian literature. Also key to literary examination is diachronicity, or the outlining of literary development through successive generations and periods. Thriving Persian literature, undoubtedly shaped by historic events, lends itself to this approach: one can observe vast differences between the Persian literature of the tenth century and that of the eleventh or the twelfth, and so on.4 The fourteenth century stands as a bridge between the previous and the later periods, the Mongol and Timurid, followed by the Ṣafavids in Persia and the Mughals in India. Given the importance of local courts and their support of poets and writers, it is quite understandable that literature would be significantly influenced by schools of thought in different provinces of the Persian world.5 In this essay, I use the word literature to refer to the written word adeptly and artistically created.
    [Show full text]
  • Glossary of Literary Terms
    Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern).
    [Show full text]
  • Unit 1 Non-Fictional Prose: a Survey
    UNIT 1 NON-FICTIONAL PROSE: A SURVEY Structure I .O Objectives 1.1 Indian Prose Writers 1.2 Post-Independence Prose 1.3 Forms and Varieties of Prose 1.4 Let Us Sum Up 1.5 Suggested Reading 1.0 OBJECTIVES In this unit we shall trace the beginnings of Indian English Non-Fictional Prose. While surveying the field we will document important prose writers of the pre- independence era as also those who are currently writing. You will also be acquainted with the Forms and Varieties of Prose. After reading this unit you will appreciate the fact that whether fictional or non-fictional, prose should be read as closely as verse. 1.1 INDIAN PROSE WRITERS lndian English literature began as a by-product of the Indo-British encounter. Indians first started learning English for the purpose of trade and commerce. Expository+prose writing, letters, and speeches were the first to be published. The first Indian author in English, Dean Mahomet, published his memoirs, The Travels ofDean Mahomet, in 1794. There have been outstanding Indian orators like Vivekananda, Tilak and Srinivasa Sastri. Indians have published biographies, autobiographies, travelogues, and humorous sketches in addition to scholarly monographs in various fields of knowledge. Many of the contemporary novelists and poets have written good prose. But the achievements in poetry and fiction have drawn armtion away from non- fiction prose writings. Dean Mahomed ( 1759- 185 1) was born in 1759 into a fhmily claiming traditions of service to the Mughal Empire. After the death of his fbther, at the age of eleven, he .ioined the East India Company's Bengal Army as a camp follower, and attached h~mselfto an Ensign Godfrey Evan Baker.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • Why Should Anyone Be Familiar with Persian Literature?
    Annals of Language and Literature Volume 4, Issue 1, 2020, PP 11-18 ISSN 2637-5869 Why should anyone be Familiar with Persian Literature? Shabnam Khoshnood1, Dr. Ali reza Salehi2*, Dr. Ali reza Ghooche zadeh2 1M.A student, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran 2Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran *Corresponding Author: Dr. Ali reza Salehi, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran, Email: [email protected] ABSTRACT Literature is a tool for conveying concepts, thoughts, emotions and feelings to others that has always played an important and undeniable role in human life. Literature encompasses all aspects of human life as in love and affection, friendship and loyalty, self-sacrifice, justice and cruelty, manhood and humanity, are concepts that have been emphasized in various forms in the literature of different nations of the world. Poets and writers have endeavored to be heretics in the form of words and sentences and to promote these concepts and ideas to their community. Literature is still one of the most important identifiers of nations and ethnicities that no other factor has been able to capture. As a rich treasure trove of informative and educational material, Persian literature has played an important role in the development and reinforcement of social ideas and values in society, which this mission continues to do best. In this article, we attempt to explain the status of Persian literature and its importance. Keywords: language, literature, human, life, religion, culture. INTRODUCTION possible to educate without using the humanities elite.
    [Show full text]
  • Multiple Literary Cultures in Telugu Court, Temple, and Public
    1 Multiple Literary Cultures in Telugu Court, Temple, and Public istory presupposes a narrative, a story of a process motivated by a causality. And as we have come to realize, such a story H sometimes creates the object it purports to merely describe. There was no such thing as “Telugu literature” as we now understand it before literary historians produced its history in the early decades of the twentieth century for the purpose of teaching it in colleges, or to fill a perceived gap in knowledge. A history of Telugu literature required a beginning, dates for poets and their patrons, a geography of literary pro duction, and a connected narrative, which scholars have worked hard to construct. In this essay I try to avoid such construction. I do not tell a story of events by narrating them chronologically. Instead I give a somewhat loosely connected but interrelated configuration of literary culture as it manifested itself in the geographical area of South India. The gaps that I leave are deliberate. Linguistic and Geographical Boundaries of Telugu Literary Cultures Modern political and linguistic boundaries can create confusion when we talk of literary cultures that pre-date them. It is therefore necessary to remind ourselves that during the premodern period, which is my primary focus in this essay, in many of the geographical locations dis- 27 Published by State University of New York Press, Albany 28 TEXT AND TRADITION IN SOUTH INDIA cussed here Telugu was one of several languages in which literature was being produced. Poets who wrote in Telugu read and interacted with other languages widely used among scholars of their time.
    [Show full text]
  • Roman Prose and Satire. If We Keep to Schedule, We Will Finish with Augustine's Confessions, Selections Actually. So Our Concl
    Roman prose and satire. If we keep to schedule, we will finish with Augustine’s Confessions, selections actually. So our conclusion will bring us from the ancient world to the rise of the West, from the epic journey to the inward struggle to master the self, from the lyrics of Sappho to the lamentations of the fallen. We will work quickly, but thoroughly and systematically. We will define and refine key terms and ideas. We will develop themes and questions. We will work toward some comprehensive thoughts about our literature and the cultures that come with it. Lots of reading, but when it is this good, who doesn’t ask for more? Now the basics: two papers, a midterm and a final, some shorter activities, and lots of dialogue in class. The final will be comprehensive. CATEGORY 1 EH 381, Victorian Literature and Culture (Cat. 1) Ullrich, TTH 12:30-1:50 The Victorians have a terrible problem with PR. Often simplified as repressive, Victorian England was a time of impressive cultural change. The Victorian era was the first era to call into question institutional Christianity on a large scale. Many distinctively “modern” innovations and cultural concepts made significant strides during this time period, including democracy, feminism, unionization of workers, socialism, Marxism. This is the age of Darwin, Marx, and early Freud, as well as Queen Victorian, the Oxford Movement, and Utilitarianism. This course is designed as a survey of the major Victorian writers and the cultural events which transformed the era. The course covers the time period from 1832-1900.
    [Show full text]
  • Modern Iranian Literature: the Historical and Present Development of the Short Story Genre
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 775-784 doi: 10.17265/2159-5836/2016.07.008 D DAVID PUBLISHING Modern Iranian Literature: The Historical and Present Development of the Short Story Genre Oydin Turdiyeva Tashkent State Institute of Oriental Studies, Tashkent, Uzbekistan The following article is about the historical overview of the Persian literature and the emergence and development of the short story as a literary genre and its prominent role in the modern literature of Iran. It discusses the origin of the short story in general and preconditions for the popularity of the new genre the Iranian literature of the 20th century, and also about the first successful collection of short stories that introduced it to the public. Also the development process of the short story and principle factors in every stage of its emergence as an independent genre of prose, as well as the thematic range are the main aspects among others to be analyzed in the article. It is historically documented that the Islamic state was established in 1979 after the fall of the Shah. And the very event had big impact not only on the social and political life of the country, but also on the cultural and literary life of the Iranians of the time. The significance of the revolution was such that it divided the literature to be known as the “pre-revolution” and “post-revolution” periods. Therefore this article is aimed to observe how this historic event had influenced the short story in particular and the distinct features of the works created during the two periods.
    [Show full text]
  • A History of Persian Literature Volume XVII Volumes of a History of Persian Literature
    A History of Persian Literature Volume XVII Volumes of A History of Persian Literature I General Introduction to Persian Literature II Persian Poetry in the Classical Era, 800–1500 Panegyrics (qaside), Short Lyrics (ghazal); Quatrains (robâ’i) III Persian Poetry in the Classical Era, 800–1500 Narrative Poems in Couplet form (mathnavis); Strophic Poems; Occasional Poems (qat’e); Satirical and Invective poetry; shahrâshub IV Heroic Epic The Shahnameh and its Legacy V Persian Prose VI Religious and Mystical Literature VII Persian Poetry, 1500–1900 From the Safavids to the Dawn of the Constitutional Movement VIII Persian Poetry from outside Iran The Indian Subcontinent, Anatolia, Central Asia after Timur IX Persian Prose from outside Iran The Indian Subcontinent, Anatolia, Central Asia after Timur X Persian Historiography XI Literature of the early Twentieth Century From the Constitutional Period to Reza Shah XII Modern Persian Poetry, 1940 to the Present Iran, Afghanistan, Tajikistan XIII Modern Fiction and Drama XIV Biographies of the Poets and Writers of the Classical Period XV Biographies of the Poets and Writers of the Modern Period; Literary Terms XVI General Index Companion Volumes to A History of Persian Literature: XVII Companion Volume I: The Literature of Pre- Islamic Iran XVIII Companion Volume II: Literature in Iranian Languages other than Persian Kurdish, Pashto, Balochi, Ossetic; Persian and Tajik Oral Literatures A HistorY of Persian LiteratUre General Editor – Ehsan Yarshater Volume XVII The Literature of Pre-Islamic Iran Companion Volume I to A History of Persian Literature Edited by Ronald E. Emmerick & Maria Macuch Sponsored by Persian Heritage Foundation (New York) & Center for Iranian Studies, Columbia University Published in 2009 by I.
    [Show full text]
  • A History of Telugu Literature
    THE HERITAGE OF INDIA SERIES lan A P ned by J . N . F R QUHAR , M . A D . Litt . D D . (Aberdeen) . Ri R V . H The ght everend . S AZ AR I A , LL . D a Bishop of Dorn kal . Joi nt K E . C . DEWI C , M . A . (Cantab . ) E ditors . AN LY M a J N C G GU , . A (Birmingh m) , - a Darsan S stri . Already pub li c/zed. f He ar o Bu ism . S . D .Litt . a a The t ddh K J AUNDERS , M A (C nt b . ) i 2 r o f a are se e ra e u P B . Hi o n L ur d ed . E . I A A st y K t t , . R CE , . S e . k a s ud ed . B I I H i . The sam hy y t m , z A ERR EDALE KE T , D . L tt ( Oxo n . ) 2 ed . S . MA AI L . Aso k a , ud JAME M CPH , M A M D in in . 2nd e d . rinc i a Y O u . Indian Pa t g P p l PE R C BR W N , Calc tta f a th S ai . i ra i n s NI O I O . Psalms o M t C L MACN C L , M A , D L tt . f in i i e a u e . r F E . Li . H o H L r . A isto ry d t t . KEAY , M A , D tt a B The Karm A .
    [Show full text]
  • PROSE POETRY: Contemporary Poets in Discussion and Practice Edited by Gary L
    FOR IMMEDIATE RELEASE Contact Kathleen Rooney: (617) 548.9145; [email protected] an independent publisher of hybrid genres Announces the upcoming publication of The Rose Metal Press FIELD GUIDE TO PROSE POETRY: Contemporary Poets in Discussion and Practice Edited by Gary L. McDowell and F. Daniel Rzicznek FEATURING ESSAYS FROM: McDowell FEATURING ESSAYS FROM: Nin Andrews - Joe Bonomo - John Bradley - Nin Andrews – Joe Bonomo – John Bradley – Brigitte Byrd Maxine Chernoff – David Daniel – Denise Duhamel – Nancy Eimers Brigitte Byrd - Maxine Chernoff - David Daniel - Beckian Fritz Goldberg – Ray Gonzalez – Arielle Greenberg • Kevin Griffith – Carol Guess – Maurice Kilwein Guevara – James Harms Rzicznek Denise Duhamel - Nancy Eimers - Beckian Fritz Bob Hicok – Tung-Hui Hu – Christopher Kennedy – David Keplinger Goldberg - Ray Gonzalez - Arielle Greenberg - Gerry LaFemina – David Lazar – Alexander Long – Kathleen McGookey Robert Miltner – Amy Newman – William Olsen – Andrew Michael Roberts Kevin Griffith - Carol Guess - Maurice Kilwein Michael Robins – Mary Ann Samyn – Maureen Seaton – David Shumate Jeffrey Skinner – Mark Wallace – Gary Young Guevara - James Harms - Bob Hicok - Tung- THE ROSE METAL PRESS to Guide Field Hui Hu - Christopher Kennedy - David A wide-ranging gathering of 34 brief essays and 66 prose poems by distinguished Field Guide to practitioners, The Rose Metal Press Field Guide to Prose Poetry is as personal and Keplinger - Gerry LaFemina - David Lazar - provocative, accessible and idiosyncratic as the genre itself. The essayists discuss their craft, influences, and experiences, all while pondering larger questions: Alexander Long - Kathleen McGookey - Robert What is prose poetry? Why write prose poems? With its pioneering introduction, this collection provides a history of the development of the prose poem up to Miltner - Amy Newman - William Olsen - Prose Poetry Prose Prose its current widespread appeal.
    [Show full text]
  • Unit 4 South Asian Literature
    UNIT 4 SOUTH ASIAN LITERATURE Structure Objectives Introduction Survey of South- Asian Literatures in English 4.2.1 Pakistani Literature in English 4.2.2 Sri Lankan Literature in English 4.2.3, Bangladeshi Writing in English 4.2.4 Indian Literature in English 4.2.5 Twentieth Century Developments in Indian English Fiction Postcolonialism 4.3.1 Unravelling Postcolonialism 4.3.2 Postcolonial Literary Analysis and Pedagom 4.3.3 Problems with the Postcolonial Pamdigm Literahire at the Margins - Some Critical Aspects 4.4.1 The Question of the Margin 4.4.2 Women and Literature 4.4.3 Conceptual Challenges Let Us Sum Up Questions Suggested Reading 4.0 OBJECTIVES The primary objective of the unit is to show that the newly emerging literatures in English in South Asia (and the Indian novel, specifically) are the products of complex determinants. The colonial encounter is the foremost determinant for emerging literatures in English in India and the subcontinent. Additionally, the process through which the new nation comes into being; the trauma of partition, the formation of national identities in a situation of political instability all contribute to the vast body of literature, not just in English, but in the regional languages as well. My attempt in this introduction to a representative body of South Asian literature would be to show how literature refracts realities outside its domain and cannot. therefore, be stuched in isolation from them. In this course, you will study Bapsi Sidhwa's partition novel Ice Candy Man, which pulls together some of the issues mentioned above.
    [Show full text]