Ghori -- A Bengali Translation of Pio Baroja's story El Reloj (original) (raw)
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.
A Blinding Brilliance: Pío Baroja’s Story of the Eye
Neophilologus, 2013
This article examines motifs of blindness and corporeal decomposition in Pío Baroja's best-known novel, Camino de perfeccio´n. Through grotesque images of decay and an aggressive sun which blinds, Baroja's text undermines ocularcentric values and challenges notions of propriety in artistic expression. In essence, the constant recurrence to blindness and the violent nature of the sun contest privileged hierarchies concerning the primacy of vision and subjectivity in literature and art. Considering the persistent fluctuation of narratological voices and viewpoints in Baroja's 1902 text, both form and content engage in a treatise on multi-perspectivism and difference. Through its unique ethics and aesthetics, Camino de per-feccio´n anticipates the transgressive considerations of vision discussed by later European thinkers of the avant-garde, including the French intellectual Georges Bataille. The present study investigates the importance of blindness in Baroja's volume and demonstrates that through the annihilation of vision, along with the interrogation of the novelistic genre, Baroja's story of the eye is ahead of its times, surrealist and postmodern avant la lettre. Keywords Pío Baroja Á Camino de perfeccio´n Á Georges Bataille Á Vision Á The sun For these men of today I do not wish to be light, or to be called light. These I wish to blind. Lightning of my wisdom! Put out their eyes! Friedrich Nietzsche From the initial pages of Pío Baroja's Camino de perfeccio´n (1902), the reader is confronted with grotesque images of human putrefaction and death. The protagonist
On Glutination in Bengali Short Story*
A nna RÁCOVÁ, Bratislava A text is a structured whole organized according to certain rules. The arrangement o f text units depends on many text creating factors o f objective and subjective nature. A very important role is played by various connecting and uniting means. The act o f gradual connecting o f particular sentences in text is called glutination. We aim to study the language means, i.e. glutinators, through which the adjacent elementary text units, i.e. utterances, are bound together in the Bengali language, and classify them to find out the degree o f glutination which can mark the typological character o f text. In contemporary linguistics, a vast knowledge exists especially of lower language units, i.e., of the vowel and the word, but enough attention has been paid also to the sentence. Various problems have been studied in a number of publications on phonetics, phonology, morphology and syntax. However, neither the highest unit of communication, i.e., the text has escap...
Dungar College ÖZET Çeviri; bir kültürün, bir bölgenin edebiyat›n› di¤er bir kültüre-bölgeye tafl›r ve karfl›l›kl› kültürel iliflkiyle birlikte güven duygusu oluflmas›na katk›da bulunur. Fakat Hindistan örne¤inde bölgesel kültürün ürünü olan edebiyat›n daha güçlü olan milli kültürün içinde erime tehlikesi vard›r. Dolay›s›yla, çevirmenin stratejisi hem alt kültür ürününü muhafaza etmek, hem de milli kültürle bar›fl›k olmal›d›r. Yani çeviri metin Hintlilerde bu eserin kendilerine ait oldu¤unu hissettirirken, ayn› zamanda da bir bölge kültürüne ait oldu¤unu göstermelidir. ‹ngilizce'nin farkl› kullan›mlar› oldu¤u gibi, teori ve pratikte bir Rajastan metni de bir Pencap metninden daha farkl› okunmal›d›r. Hindistan gibi çok dilli bir ülkede alt kültüre ait ve daha az bilinen Marwari (Rajastanca olarak bilinen dil) dili ve dillerin ürünü olan edebiyat ürünleri ve çevirileri öncelik kazanmaktad›r. Bu makalenin amac›; Hindistan özelinde üretilmifl, kültürel anlamda benzerlik tafl›yan alt kültüre ait metinleri dikkate alarak, dilller aras› çeviri metinler üzerinden yerel-bölgesel kültürün önemini vurgulamakt›r. Makalenin ilk bölümü çeviri teorisi ve uygula-malar› üzerinedir. ‹kinci bölüm ise, Vijaydan Detha'n›n k›sa hikaye antolojisi olan Chouboli adl› eserini çeviren Christi Merrill'in bir çevirmen olarak durumunu de¤erlendirecektir. Sonuçta, Christi'nin eserinin önsözünde kendi tecrübesinden yola ç›karak ifade etti¤i "etkili bir uygulama olarak çeviri" bafll›-¤›n›n bir tart›flmas› yap›lacakt›r. ANAHTAR KEL‹MELER yerel edebiyat, çokdillilik, çeviri çal›flmalar›, dil içi çeviri çal›flmalar›, yeni yaz›n, dil ve kültür topluluklar ABSTRACT Translation makes the literature of a culture and region known to other regions and establishes a certain credibility and relationship of mutual regard. But in the context of India there is the danger of so called regional literature subsumed into more powerful national culture. Thus the translator's strategy would be to bring out the sense of continuities within the nation as well as the distinct sense of location of the text that has been translated. The readers will have to be convinced of both the fellow Indianness of the translated text as well as of the uniqueness of its location. A Rajasthani text has to be read differently from a Punjabi text and calls for different kind of theory and practice, also different kinds of Englishes. Thus in a multilingual country like India, the translation of indigenous literature and culture should be treated as a matter of primary national importance in that it would contribute to spreading the knowledge about lesser known social and linguistic groups such as Marwari (popularly known as Rajasthani). The present paper is an attempt to look at the nature of interlingual translation practices within India and locate the significance of parallel texts which address different linguistic and cultural communities at large and provide an opportunity to celebrate culture specificity. The first part of the paper addresses the issue of translation as theory and translation as praxis. The second part focuses on Christi Merrill's position as the translator of Vijaydan Detha's short story collection Chouboli. It discusses at length Christi's own experiences as expressed in the foreword which she titles, 'translating as a telling praxis'.
Kamala Das: On Translating My Story
Madhavikutti's Ente Katha is an autobiography of a woman who opted to write rather than die. Thus writing becomes an act of self-inscription in a language and culture that tries to silence her sexuality. Ente Katha, by valorizing the female body created a furore in Kerala society in the seventies. For the first time a woman used the Malayalam language blatantly, throwing to the winds a culture's preoccupations and values, in the process critiquing all its dominant discourses. Her potentially subversive act of invoking the semiotic in the Malayalam language and literature paved the way for writing the female body in a way radically different from male writings in terms of linguistic structure and content. But when Madhavikutty translated her story as Kamala Das's My Story in English, she must have encountered serious problems transcreating the female body written into the source language. The strategies by which the category 'Malayalee woman', her multiple subject positions in Ente Katha and the cultural contingency of her experiences of oppression, get translated into the linguistic, historical and cultural specificities of a language such as English, form the scope of this paper. It is an attempt to analyse the process of translation by which the discursively constructed 'Madhavi kutty' of