Ghori -- A Bengali Translation of Pio Baroja's story El Reloj (original) (raw)
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Updated translation - "Gulki, the Bride": A Translation of Dharamvir Bharati's "Gulki Banno"
Indian Literature, 2016
Dharmveer Bharati is known for an extraordinary prolific career as an editor, poet, novelist, and a short story writer. He was the editor of Dharmayug, an epochal magazine in Hindi that flourished for more than four decades in India. Known most significantly for his Andha Yug (The Blind Age), Gunohon ka Devata (The God of Crimes) and Suraj ka Satvan Ghora (The Seventh Horse of Sun), his numerous short stories testify not only to his consummate grip on the idiom of folk culture, dialects and even idiolects but also to his immense empathy and earnest identification with the insulted, injured and the outcast. The story of "Gulki Banno" (223-237) is in the collection, Sans Ki Kalam Se. The story of Gulki, a humpback woman suffering disability invokes the ambience and cultural mores of mid 1970s in the locality, Atarsuia Mohalla in Allahabad (India) where Bharati's early years were spent.
Bijji’s Tale from Duvidha to Paheli: Journey of a Folklore
Journal of Communication and Management
Padam Shree Vijaydan Detha, popularly known as ‘Bijji’ is a renowned Rajasthani folklore writer, and Rajasthan is the land of colors of folklores, art, and cultural tradition. Every particle of sand tells a story of romance, bravery, and sacrifice. ‘Bijji’ has given voice to this golden sand singing in silence. ‘Duvidha’ is a story of a woman’s respect, loneliness, and desires. When a sensitive film-maker ‘Mani Kaul,’ one of the flag bearers of Indian parallel cinema, translates the story on celluloid, the story becomes a cinematic treat decorated with symbolism. Kaul’s camera reveals the layers of a woman’s heart. Thirty-two years after ‘Duvidha’ was presented on screen, ‘Bijji’ echoed again in the heart of another film-maker Amol Palekar. ‘Paheli’ is a millennial version of ‘Duvidha’ trying to comprehend a woman’s pain in a patriarchal system to a newer generation. This paper explores the journey of folklore, from a mystic world of words to the audio-visual expressions of an art f...
2020
Kailashbashini Debi’s Janaika Grihabadhu’r Diary (The Diary of a Certain Housewife; written between 1847 and 1873, serialised almost a century later in the monthly Basumati in 1952) chronicles her travels along the waterways of eastern Bengal. Her travels are firmly centred around her husband’s work; in his absence, she is Robinson Crusoe, marooned in the hinterlands of Bengal with only her daughter. Bearing in mind the gendered limitations on travel in the nineteenth century for upper-caste Bengali women, this essay investigates Kailashbashini Debi’s narration of her travels and the utopic vision of the modern housewife that Kailashbashini constructs for herself. The essay looks into the audacious nature of Kailashbashini’s effort: to claim a space in public memory alongside her husband. In the process, the essay seeks to address the restructuring of domestic life made possible by the experience of travel, and explore the contours of women’s travel writing in nineteenth-century Ind...
Gulki Banno with complete footnotes 1 8 Dec 2023
Dharmveer Bharati is known for an extraordinary prolific career as an editor, poet, novelist, and a short story writer. He was the editor of Dharmayug, an epochal magazine in Hindi that flourished for more than four decades in India. Known most significantly for his Andha Yug (The Blind Age), Gunohon ka Devata (The God of Crimes) and Suraj ka Satvan Ghora (The Seventh Horse of Sun), his numerous short stories testify not only to his consummate grip on the idiom of folk culture, dialects and even idiolects but also to his immense empathy and earnest identification with the insulted, injured and the outcast. The story of "Gulki Banno" (223-237) is in the collection, Sans Ki Kalam Se. The story of Gulki, a humpback woman suffering disability invokes the ambience and cultural mores of mid 1970s in the locality, Atarsuia Mohalla in Allahabad (India) where Bharati's early years were spent. "May you die black faced". Ghegha 1 Bua 2 burst out cursing, seeing Mirwa singing aloud at her door when she suddenly opened it to dispose of the garbage, "Breaking into a song! Is there a phonograph pounding in your belly as early as this hour of morning? God knows how this fellow is at rest in the night". Scared lest Ghegha Bua throws garbage upon his head, Mirwa slipped a little to one side and the moment Ghegha Bua went in, he again sat on the stairs of the platform and swinging his legs broke into another song in childish lisp: "Tumhe bachch yaad kalte aam chchanam teli kachcham"-I remember you only my beloved, I swear by you". Jhabri, the bitch was somewhere close by. Hearing Mirwa's voice, 1 Ghegha means goiter. Ghegha Bua, the elderly female character has a pronounced goiter. Generally, in folk cultural forms of communication, one's bodily characteristicslabel a person instead of the proper name and become the marker of his/ her identity. Someone with bloated belly would be called Matki, a short person, Matru, squint eyed, Bhenga, disabled, Langada, or hunchback, Kubda/Kubdi and furry haired, Jhabra/Jhabri. 2 In the Indian society it has been customary to address neighbors in kinship terms. Bua, Chacha, Chachi, Babu, Bapu, Bhaiya, Didi, Bahinji, etc. are the terms of familial relationship which often get extended to the larger community. The practice gave a semblance to a sense of community to a society-in solidarity, solicitous, considerate and concerned with each other. Nirmal's mother is called Chachi and father, the Driver Sahib (whose profession is driving), Chacha by Gulki and the children of the locality. Bapu refers to father and Mai to mother, Bhaiya to brother, Didi to sister, Bahinji to elder sister or to women who are better off in status and Beta and Beti to son and daughter respectively.
Telling tall tales: The figure of the storyteller in select Bengali fiction
Sahitya: Journal of the Comparative Literature Association of India, 2023
The importance given to experience as a critical element for the storyteller by Walter Benjamin in his essay "The storyteller" unites the two most (arguably) popular storytellers in Bengali literature for children and teenagers-Ghona-da and Tarini Khuro. They claim to have experienced the tales they narrate to their attentive listeners. For Ghonada, the tales border on what Linda Hutcheon has described as "historiographic metafiction". For Khuro, the narratives are mostly tall tales from their own lives but exaggerated to suit the curious ears of the young audience. This paper aims to understand the narrative elements of storytelling, with references to a few of their stories. The first two volumes of Tenida and the stories of Tarini Khuro in Golpo 101 would be the primary texts for this study, along with Benjamin's essay. The common factors in all the short stories around and about these characters would be analysed to formulate a pattern which would analyse and understand other such storytellers in a similar setting. A structuralist understanding of these stories would be posited, with the help of Deleuze's "How do we recognise structuralism."
A Translation of an Urdu Short-Story. "Khudgharz
Zenodo (CERN European Organization for Nuclear Research), 2022
This article which I have sent for publication is a work of translation, from Urdu to English. It is my attempt at translation of an Urdu short-story. Khudgharz, authored by the much published, celebrated and decorated Urdu writer, Mrs. Ayesha Siddiqui. It is taken from her collection of short-stories entitled Ghoomte chaak ki keel.a collection of 21 brilliant, imaginative masterpieces that have flowed from her pen. In her stories, Siddiqui paints a poignant and authentic picture of diverse lives and characters, most belonging to the culturally rich Muslim backgroumd of Awadh, into which she herself was born.
Exploitation, victimhood and gendered performance in Rituparno Ghosh’s Bariwali
2016
This article analyzes Rituparno Ghosh's celebrated film Bariwali (The Lady of the House, 2000). The film marks the beginnings of Ghosh's treatment of gender and sexual politics. Ghosh's earlier films Unishe April (1994) and Dahan (1997) engaged with strong female characters, but Bariwali is the first of his films to narrate the various ways in which female agency is routed through male exploitation and patriarchy. Through close readings of the characters and the visual tropes perspicaciously crafted by Ghosh, this article positions hegemonic masculinity and heteropatriarchal privilege as the exploiter within India's gendered politics. By placing the protagonist Banalata both within the feudal space as well as within the bhadralok discourse, one can trace the transition from tradition to modernity that the story represents, and in turn trace Ghosh's unique understanding of and reaction against India's prevailing social and cultural norms.
Bengali Novel: Perspective and Deconstruction
Novel in any language evolves clinging to the gradual development of social order, diversity of the culture, financial system and psychological subtlety of a geographical territory. The rise and flourishing of Bengali Novel also adhere to the expectations, failures, anxiety, torment, rise and fall in the life of the middle class people of colonial Bengal. Despite the drawbacks in form and content, Alaler Ghorer Dulal of Pyarichand Mitra (1814-1883) is the first Bengali novel. The conflict between the culture coming from the outside and Bengali culture has become inescapable in the nineteenth century. In the novel Alaler Ghorer Dulal, Pyarichand Mitra depicts this conflict in the life of the rising middle class of Kolkata. Till 1865, Bengali novel had to wait for the assertion of the individual self without restraint and free thinking-two very important characteristics of Renaissance. By writing Durghesh Nondini (Castellan's Daughter) (1865), Bankimchandra Chattopadhay introduced a new era in Bengali Novel. Unveiling individual desire and cry in the backdrop of a feudal society, he brought about the Bengali novel in the context of human life. He gave history and romances an artistic shape adopting the emotion, faith and ideology of the newly born middle class people, and universalized the cry of the human soul caged in the feudal society. Freeing Bengali novel from Bankim Chandra's romance, history and idealized person and society centeredness, Rabindranath (1861-1941) brought contemporary time, society and its people in the scenario. Renaissance's neo-humanism, individualized study of the existence, 'study of the mankind', search for the soul and nationality are profoundly presented in the novels of Rabindranath. In both Chokher Bali (Eye-sore) (1902) and Karuna, Rabindranath's focal point is free existence of individualized human beings. Basing on his understanding of life and art, Rabindranath in his first novel succeeded in transcending Bankim. While renaissance-based idea of life is present in his novel, Bankim's advancement and transformation are hindered by his compliance with the classics. Man and women in his novels fail to come up with an 'exit route' from the all-consuming darkness of the society. His resolution in Anandamath (1882) does not even touch the contemporary society. Though Ramesh Chadra Datta (1847-1909) or Taraknath Gangapadhay's (1843-1891) historical sense and social view evolve from the contemporary life's reaction, the deeper significance of the social values is absent in their novels. Chokher Bali (Eye-sore) is the first 'modern' Bengali novel. For the first time in Bengali literature, Chokher Bali mirrors the universal human problem found in national and international society and culture, and the wonderful scientific inventions in the last decade of the 19th century. Asha, Mohendro, Behari and • Binodini's complexity in life develops from the clash between the traditional culture and values, and desired culture and values. Individualism, an epitome of modern man, is diversely presented in this novel. Rabindranath is respectful to individualism whereas Bankim is guided by ethical values. Rabindranath reflects on the overwhelming complexities of the whole life. By the plot development, characterization, point of view of this novel, Rabindranath the new artistic root of the 20th century.