Ars Artium, vol. 9, January 2021 (original) (raw)
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Marginalization And The Indian English Literature
Literature represents life and life is a social reality. A writer, who is a member of a society, is possessed of specific social status and he / she receives some degree of social recognition and reward. De Bonald considers “literature is an expression of society”. In a world when issues relating to human rights have been under critical focus, literary depictions of the experiences of marginalized groups have acquired great significance. The modern spurt in Dalit literature in India is an attempt to bring to the forefront the experiences of discrimination, violence and poverty of the Dalit. Expression of these experiences have long been buried in silence, often with religious and social sanction and relegated to the margins as non-literary. More recent is the trend to deny their existence altogether. The growing corpus of Dalit texts, poems, novels and autobiographies, however, seek to rectify this phenomenon by examining the nuances of Dalit culture. Dalit literature is one of the most important literary movements to emerge in post-independence India. The transformation of the stigmatized identity of these so called ‘untouchables’ to a self-chosen identity as Dalit is a story of collective struggle waged over centuries. Mahatma Jyotirao Phule and Dr. B.R. Ambedkar, two towering figures in the pantheon of Dalit history, were the first to appropriate the word. The voice of the marginalized and the oppressed is a great tool to recognize the obscured conditions that exist in the world around. With the knowledge gained from marginalized literature, we will be able to fight ignorance surrounding the lives of these people and the prejudice that is a result of that ignorance. One of the important objectives of Indian English writers of fiction has been the creative interpretation of Indian society and its culture and the ‘formulation and projection of the Indian image. The Indian society is broadly classified into three main communities, namely, the upper-caste, the non-upper-caste and the depressed classes. Among them, there existed many castes and sub-castes, which followed numerous practices and usages; surprisingly each of them is unique. The influence of upper-castes is greatly felt in the socio-religious and cultural lives of the marginalized sections over the years.
Dalits, aboriginals, subalterns, slaves, serviles, tribals, etc., are connected with an umbilical cord of the same section of the hapless society. Dalits and subalterns in India, aboriginals in Australia and Canada, Afro-Asians in the UK and the USA have sprouted and taken full-fledged areas of creative aesthetics in literature. A plethora of articles, books, monographs, autobiographies, memoirs, novels and poems have emerged as powerful visible forms of protest against the prolonged and chequered history of agony, anguish, exploitation, cruelty, maltreatment, malice and malevolence. Migration from one place to another has taken place to protect themselves from and protest against the sovereign/superior/colonizing and consumerist class. Earlier, misuse and mishandling of the marginalized communities became the subject matter of literary practices by few including the widely accepted 'holy trinity', M. R. Anand, R. K. Narayan and Raja Rao, who penned down and set the milestones in the literary sphere. With the passage of time, people from the beleaguered and subjugated class came forward to protest their subdued status in the society. They professed their creative articulations avowedly and started writing in the indigenous languages in several regions of India. Since they confined their writings in a particular language/dialect, the readership, therefore, was restricted to the speakers of the same language or was cramped in the same territory. Thanks to the translation studies in India which emerged from the late nineteenth century, the original texts in Hindi, Braj, Awadhi, Bhojpuri, Punjabi, Haryanvi, Rajasthani in northern India and Kannada, Telugu, Tamil and Malayalam in south India received recognition by the academicians, researchers and creative writers. Thus, the need of translation came to the fore to get wider readership. When many bilingual writers began writing both in their native languages and in English, the publishers, too, came forward to encourage them. The writers, poets and playwrights-cum-activists, such as Ananthamurthy, Ramanujan, Karnad, Manoj Das, Niranjan Mohanty, and Arun Kolatkar, Kamla Das and Mamta Kalia, carried forward the legacy of bi/multilingualism of Tagore, Firaq Gorakhpuri and Bachchan. But there is a brigade of authors, poets, novelists, travel writers, especially from pre-colonial India, who originally wrote and published in their native languages. Afterwards, there emerged a line of academicians who attempted in translation to get esteemed degrees, fellowships and certificates of appreciation. Few institutions of high approbation like Sahitya Akademy, New Delhi, were founded to promote and promulgate vernacular works in translation. Some publishers, such as the Writers Workshop, Seagull Books, Samya, Zubaan, Harper Perennial, Penguin
Depiction of Women in Literature: A Reading of Indian Literary Texts under Gender Theory
AMERICAN JOURNAL OF SOCIAL AND HUMANITARIAN RESEARCH, 2023
Within this complex spectrum of "culture" Indian Literature has represented accurate sufferings of numerous characters. Identity and our skirmish in finding its appropriate nature, has often pressurized the psychic nature of humans, particularly women. To be precise the struggling of marginalized identities is more toilsome in comparison to the "centered" identities. In this phallocentric Indian society, the "white-cis-phallus" is the centre and the remaining becomes the "other". Marginalization can be considered as a chain of events taking place in a society to create certain restrictions for few and power for the rest. Gender, class and caste are further divided into layers, creating a stratified structure where power dynamics moulds and produces identities, not for recognition but for marginalization, oppression. Within this marginalized "remaining" the identity of women and their effort to break the imposed roles of Woman/Wife/Mother is somewhere trapped between the supposed links between "sex" and "gender" which then is to be inherently related and "culturally" bound. Therefore my paper would focus on politicized children"s literature-Brave Rajputs by Anant Pai, and presentation of Tilo in Chitra Banerjee Devakaruni"s The Mistress of Spices, gender-power dynamics in Mahasweta Devi"s Breast Stories, Jhumpa Lahiri"s Lowland, and Khaleid Hosseni"s A Thousand Splendid Suns.
Proceeding International Conference on Science and Engineering
This paper presents the writers consciousness of the society in the Era of Globalization specially how the writers try to show India in their works such as Mother of 1084, Bayen, Aajir, Statue were written by Mahasweta Devi and The God of Small Thingswas written by Arundhati Roy these two writers generally trigger the society’s pathethatic situation of the human condition such as in the form of Naxalism, women subjugation, oppression, outcast and patriarchal society, caste, class and gender in which especially how the women characters are shown not only women but also other souls in the novels through them we can easily understand the writers unconsciousness towards the culture of India. Here we can see how the women characters are killed or weaken in their works particularly apolitical mothers of children are made voiceless at the end of the novels (mother of 1084,Bayen,Statue and The God of small things) though they are Women writers and also radical in thinking they cannot escape...
If the twentieth century afforded great change due to wars and decolonization, a great deal of the twenty-first century’s upheaval comes from globalization and technology on one hand and a new kind of warfare labelled terrorism on the other. The purpose of the research is to examine against the backdrop of this development, to what extent the image or construct of a woman has changed in India for readers, particularly by studying the way it has been depicted in the writing of Indian women authors. The fact that recently these authors have received international acclaim in the form of awards makes it even more important to understand how readers all over the world and India perceive the image of an Indian woman. In short how are Indian women being positioned? The texts studied are: The Namesake by Jhumpa Lahiri, who is a second generation immigrant; The Inheritance of Loss by Kiran Desai, a first generation immigrant; Ladies Coupé by Anita Nair and Difficult Daughters by Manju Kapur, both of whom are Indian nationals residing in India with a certain amount of western education, the latter being a ‘traditional’ intellectual. The last chapter deals with the ‘organic’ intellectual focussing particularly on two contrasting short stories—“The Hunt” and “Statue” by Mahasweta Devi. However, to substantiate the hypothesis and for the purposes of comparison, the study also takes a brief look at other novels by Arundhati Roy, Sudha Murty, Lalithambika Antherjanam, Sharmila Rege, Baby Halder and P. Sivakami, keeping in mind that many of these works are translations. The approach adopted is a close reading of the texts focussing on the female characters, themes and attitudes. On this basis, the theoretical approach adopted is the writer’s interpretation of Hegel’s master-slave dialectics and Fanon’s reinterpretation of the same, Freud’s love-hate binaries, Gramsci’s differentiation between the ‘traditional’ intellectual and ‘organic’ intellectual and Spivak’s vision regarding the role of the humanities. According to Hegel, consciousness does not exist in isolation but is always dependent on another for a sense of selfhood. As there is injustice and an imbalance of power in this world, the two consciousnesses engaged with each other will assume the roles of master and slave with respect to each other. The injustice inevitably results in a struggle for selfhood on the part of the slave; one way this selfhood can be attained is through recognition of the slave’s labour. A defining emotion in this relationship is fear and it is only by overcoming fear that the slave can break free. The ultimate fear is that of death. In addition to the instinct for domination, Freud does not see the true self as one entity but as in Marx, it is a balance between contradictory forces and in this case the dialectic is between Eros—the love instinct, and Thanatos—the death one. For Antonio Gramsci, a solution or an instrument of change is the ‘organic’ intellectual. The purpose of an intellectual is not to be “specialised” but to become “directive” that is one who is political and driven to bring about change. However, in the face of globalization and the crisis that it brings with inequality, war and terrorism, according to Spivak, hope is available through education in the humanities, for it is through the humanities that one can bring about “the empowerment of an informed imagination” (Spivak, “Righting Wrongs” 2). The aim of the research is to try and understand whether western education helps to envision a new-age woman, whom this study defines as self-reliant, able to question roles and norms society has set for her, thinks independently and uses her own free will to choose to live life for herself rather than be subservient to the needs of her husband and family, or is this education an impediment. Thus in addition to intellectual and economic independence, she must be emotionally independent as well. It must be stressed that this concept of new-age is an ideal which is strived for but never actualized because it is dynamic and constantly changing over space and time. Also one must be wary of the tendency to generalize women who vary on the basis of geography, race, economics, caste and so on. The thesis statement explored is that although in some cases western educated Indian women may ostensibly live more liberated lives, the characters or images of women in the novels by the selected writers are more circumscribed as women. Another concern of the study is the difference between lived and written reality. A questionnaire based on the movie The Namesake taken by a community of informed readers in Pune indicated that in reality the image of the woman may have changed on the page but not in the minds of women and hence paradoxically in reality the concept of ‘new-age’ is a myth. The key women protagonists analysed are Ashima and Moushumi from The Namesake; Sai, her grandmother Nimi and her mother along with Noni and Lola in The Inheritance of Loss; Akhila and her companions in the coupé in the novel Ladies Coupé and Mary in ‘The Hunt’ and Dulali in ‘Statues’. The research hopes to indicate, that the most revolutionary change in the image is captured in the characters drawn by the Indian woman who is an ‘organic’ intellectual. By working intimately with the subaltern, she is aware of the urgency for change unlike a more privileged woman. She functions as a “permanent persuader” who is an instrument of change. Thus perhaps one answer to the conundrum could be that the writing of the ‘organic’ intellectual has the potential to capture one of the myriad images of a new-age Indian woman. As for a definite final one, perhaps it can never be found as it will always be dynamically changing and evolving and hopefully aspiring towards an ideal concept akin to the one defined by the study