LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 17:3 March 2017 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. C. Subburaman, Ph.D. (Economics) N. Nadaraja Pillai, Ph.D. Renuga Devi, Ph.D. Soibam Rebika Devi, M.Sc., Ph.D. Assistant Managing Editor: Swarna Thirumalai, M.A. Contents Materials published in Language in India www.languageinindia.com are indexed in EBSCOHost database, MLA International Bibliography and the Directory of Periodicals, ProQuest (Linguistics and Language Behavior Abstracts) and Gale Research. The journal is included in the Cabell’s Directory, a leading directory in the USA. Articles published in Language in India are peer-reviewed by one or more members of the Board of Editors or an outside scholar who is a specialist in the related field. Since the dissertations are already reviewed by the University-appointed examiners, dissertations accepted for publication in Language in India are not reviewed again. This is our 17th year of publication. All back issues of the journal are accessible through this link: http://languageinindia.com/backissues/2001.html Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Contents i Adappatu Ancy Antony, M.A., B.Ed. and Siddharth R., M.A. Feigned Madness – Treatment of Theatre Imagery in Shakespeare’s Hamlet 1-6 Ashima Bharathan P.K., M.Phil. Research Scholar (English) Theme of Gender and Space in Joanna Russ’s Novel The Female Man 7-18 Barnali Chetia, Ph.D. Women in Science Fiction - Echoes from an Uninhibited World 19-30 Deborah Deanne Athaide, MASLP and Kumudavalli.S, M.Sc (Speech and Hearing) Comparison of Voice Onset Time of English Stops Produced by Native Kannada and Native Tamil Speakers 31-49 Dr. S. Chelliah Mystic Vision and Cosmopolitan Outlook in Gitanjali 50-63 Ive Emaliana and Suharmanto Development and Validation of the EFL Reading Questionnaire 64-82 Mrs. Geeta Ravindran and Ms. AnaghaVallikat Space in the Selected Plays of William Shakespeare 83-89 R. Jagatheeswari, M.A., M.Phil. The Image of New Woman in Manju Kapur’s A Married Woman and Home 90-102 K. Kaleeswari, M.A., M.Phil. Familial Relationships in Shashi Deshpande’s Roots And Shadows and A Matter Of Time 103-111 Dr. Olive Thambi, M.A., M.Phil., Ph.D. and S. Karnel, M.A., M.Ed., M.Phil. Vignettes of Jane Austen’s England in the Novel Pride and Prejudice 112-137 Khizar Hayat Qamar Socio-Economic and Cultural Factors Responsible for Illiteracy in Rural Areas of District Mandi Bahauddin Punjab, Pakistan 138-148 Dr. R. Murugan and Dr. V. Peruvalluthi Postcolonial Gothic Hybrid in Arundhati Roy’s The God of Small Things 149-157 Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Contents ii Nasrin Mozaffari, Ph.D., Sima Gharibey, M.A. of English Literature and Touba Shirkani, M.A. of Dramatic Literature A Comparative Study of Torah’s Samson and Delilah and Shahnameh’s Siavash and Soudabeh 158-171 B. Ponmalar, M.A., M.A., M.A., B.L Expectations and Acceptation in “Silver Pavements, Golden Roofs” 172-178 S. Hephzibah Priyadharshini, Ph.D. From financial literacy to financial well-being: a study of the level of financial literacy of women teaching faculty in educational institutions in Coimbatore region - Doctoral Dissertation 179-432 Partha Bhattcharjee and Priyanka Tripathi, Ph.D. Ethnic Tensions and Political Turmoil: Postcolonial Reading of Chimamanda Ngozi Adichie’s Purple Hibiscus 433-446 Md. Tauseef Qamar, M.A. Linguistics A Sketch of Supra-segmental Features of Modern Angika and Magahi – A Descriptive Study 447-452 S. Ramanathan, M. A., (Eng.), M.A. (Ling.), M.Phil., B.Ed. PGDDE Voice of the Rejected: Representation of the Life of Transgender in the Poems of Kalki 453-461 Dr. Syam SK Linguistic Study of Nakshathras (Stars) with special reference to Borrowing 462-477 J. Vimal and R. Subramani Understanding Qualitative Content Analysis in the Light of Literary Studies 478-487 Vinu C. James A Study for the Search of Identity: Queer Space in Mahesh Dattani’s On A Muggy Night In Mumbai and Do The Needful 488-495 Vivek Dinkar Khabde, M.A., NET Indian Diaspora and the Motif of Journey 496-501 Humaira Khan and Syed Iram Bashir Pakhtoonwali - Ethical Code of Honor among Pakhtoons 502-507 Prof. B. Mallikarjun Spread of English in the 21st Century India 508-513 Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Contents iii Sadia Munir, M.A. English, M.Phil Candidate at Air University Ego and Other Poems Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Contents iv =================================================================== Language in India www.languageinindia.comISSN 1930-2940 Vol. 17:3 March 2017 =================================================================== Feigned Madness – Treatment of Theatre Imagery in Shakespeare’s Hamlet Adappatu Ancy Antony, M.A., B.Ed. Siddharth R., M.A. ==================================================================== Abstract Theatre imagery has become almost an aphorism, has its occurrence been traced out even in plays belonging to the pre - Shakespearean era. The content for feigned madness has ancient roots. In the renaissance, the feigned madness was more than really the stuff of comic duplicity or confusion. The theatre imagery in Shakespeare’s Hamlet is a kind of perceptual lens through Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Adappatu Ancy Antony, M.A., B.Ed. and Siddharth R., M.A. Feigned Madness – Treatment of Theatre Imagery in Shakespeare’s Hamlet 1 which we may observe and analyze the conduct of the character and their tragic predicaments. Hamlet is often described as tragedy dominated by the idea of the plays. Feigned madness becomes a powerful metaphor attached to the theatre imagery. “To be or not to be” begins one of the most famous soliloquies of all time by an author William Shakespeare in his play, Hamlet. There are several different motifs that are relayed within Hamlet’s story. These motifs include death, obsession and betrayal all of which contribute to reassure Hamlet’s madness. In every motif, the audience can state on a universal level both back in the day and in present times as death. Key words: Madness, antic disposition, imagery, William Shakespeare Theatre Imagery- Feigned Madness Theatre imagery has become almost an aphorism, has its occurrence been traced out even in plays belonging to the pre –Shakespearean era. The content for feigned madness has ancient roots. In the renaissance, the feigned madness was more than really the stuff of comic duplicity or confusion. The theatre imagery in Shakespeare’s Hamlet is a kind of perceptual lens through which we may observe and analyze the conduct of the character and their tragic predicaments. Hamlet is often described as tragedy dominated by the idea of the plays. Feigned madness becomes a powerful metaphor attached to the theatre imagery. It is manifested specifically in Act II, Scene III in Hamlet as an “antic disposition”. The metaphor takes other important forms in the play: the masks and pretenses put on by the main characters in Claudius mock court: the use of the itinerant players, the play within the play and the imagery of clothing and painting. Hamlet’s Social and Cosmic Role The manifestations of the theatre are subsumed by the broader questions of Hamlet’s social and cosmic role in Denmark. Hamlet completes the arrangements for the play with the help of Horatio, and just before the entrance of the court party, Hamlet says, "I must be idle." Hamlet (III .ii. 85.) This evidently is an affirmation of his intention to be "foolish". Then to his mother in the Closet Scene, he precisely refers to the belief held by some about the court that he Language in India www.languageinindia.com ISSN 1930-2940 17:3 March 2017 Adappatu Ancy Antony and Siddharth R. Feigned Madness – Treatment of Theatre Imagery in Shakespeare’s Hamlet 2 is mad, and assures her that he is consciously acting the part of madness in order to attain his object: "I essentially am not in madness, but mad in craft" (Hamlet III. iv.187-8.) Focus on the Betrayal His Family Has Faced Hamlet’s belief revolves around the betrayal his family has faced at the hands of his uncle. Despite the fact that Hamlet appears to have been given evidence that his uncle did, as a matter of fact, murder his father, it seems as though this so – called evidence is simply not enough for Hamlet to be absolutely certain, “where wilt though lead me? Speak: I’ll go no further.” Although this state may be seen as Hamlet attempting to state his ground in search for answers as to what is happening, the other side of this could also be that he is somewhat afraid of the ghost that is standing in front of him. The ghost admits to Hamlet that he is Hamlet’s murdered father. A conversation takes place between Hamlet and the ghost of his dead father where the ghost openly accuses Claudius, Hamlet’s uncle of having been the murderer by stating that “the serpent that did sting the father’s life/now wears his crown.” Hamlet (I. v. 39-40). If the ghost is indeed Hamlet’s father and it is to be believed, the ghost’s accusation should be all of the proof that Hamlet needs, yet he continually searches for proof, all the while replacing normal joys with his obsession to know the absolute truth behind the betrayal that resulted in the death of his beloved father.