scholarly journals Manto and Culture: An Exploration of Cultural Code in Manto’s “My Name is Radha”

2021 ◽  
Vol 5 (II) ◽  
pp. 79-88
Author(s):  
Sardar Ali
Keyword(s):  
Short Story ◽  
Indian Society ◽  
Cultural Perspective ◽  
Indian People ◽  
Cultural Understanding ◽  
Cultural Elements ◽  
Cultural Taboos ◽  
Cultural Code ◽  
Vivid Description ◽  
The Way

This study aims to explore Manto’s short story “My Name is Radha” from a cultural perspective. The purpose of the investigation is to bring the hidden meaning to the surface, which is there but not visible. Manto has used many political, religious, historical, and cultural references in the story, which are significant in the understanding of the researcher. These references have deflected the norms, values, and taboos of Indian society. These are investigated with the help of Barthes, cultural code. This code helps in cultural understanding of the story. The study finds that Manto has used many cultural elements in his text like, bhai, behan, Raksha Bandan, kurta, sari, and panjama. These words provide a vivid description of the Indian people, as well as their culture. Furthermore, this study discovers that Manto has used a unique codec language to portray the way of living of the Indian people. Sometimes he has spoken directly of the cultural taboos and sometimes he has spoken indirectly of the said. The study concludes that the writer has deflected the society through different cultural elements. And these elements help in the true understanding of the text.

scholarly journals Barthian Semiotics in Prince Bahram, In search of Gulandama

2017 ◽  
Vol II (I) ◽  
pp. 67-75
Author(s):  
Liaqat Iqbal ◽  
Irfan Ullah ◽  
Reena Khan
Keyword(s):  
Short Story ◽  
Textual Analysis ◽  
Narrative Structure ◽  
Cultural Elements ◽  
Cultural Codes ◽  
Cultural Code ◽  
Almost All

The paper aims at finding Ronald Barthes’ codes in the short story Prince Bahram, In Search of Gulandama. Using textual analysis, the short story was is analysed in the light of Ronald Barthes five codes. It is found that almost all of Ronald Barthes’ codes: hermeneutic, proairetic, semantic, symbolic and cultural codes are present in the short story. The story has puzzles and enigmas which inspire the readers to read the story in order to answer the unanswered questions. Like other stories, in this short story too, sequence is created through proairetic code. There are implied meanings, which bring forth the semantics code. Paradoxes, where binaries are the most import elements, are represented through symbolic codes. Lastly, there are many cultural elements, showing the cultural code. These different aspects gives a comprehensive narrative structure to the story.

scholarly journals INTERPERSONAL MEANING IN THE SHORT STORIES OF WILLEM ISKANDER’S SI BULUS-BULUS SI RUMBUK-RUMBUK

LINGUISTICA ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 409
Author(s):  
ULFA YOZA SALSABILA ◽  
ELIA MASA GINTING ◽  
WILLEM SARAGIH
Keyword(s):  
Short Stories ◽  
Short Story ◽  
The Subject ◽  
The Way

This study aimed to analyze the mood and modality used in the short stories of Willem Iskander’s Si Bulus-Bulus Si Rumbuk-Rumbuk, elaborating and explaining the interpersonal meaning realized in each short story. The source of data was taken from a book authored by Willem Iskander, entitled “Si Bulus- Bulus Si Rumbuk-Rumbuk”. This research showed that : (1) there were 157 clauses in the short stories with three mood types and two degrees of modality. (2) interpersonal meaning is realized based on the order of the subject and the finite. (3) the reason why the interpersonal meaning is realized in the way they are is that the author wants to share his thoughts and experiences of Mandailingnese by classifying each clause and finding the dominant use of declarative mood as the most direct and soft way of conveying the author’s thought

scholarly journals Mythopoetics of the Were-Dragon (The Way of the Dragon by B. M. Yulsky and the Literary Context)

2021 ◽  
Vol 20 (2) ◽  
pp. 128-135
Author(s):  
Guanqiong Lin
Keyword(s):  
Short Story ◽  
Chinese Culture ◽  
Far East ◽  
Historical Analysis ◽  
Mountain Forest ◽  
The Real ◽  
Literary Context ◽  
History Of ◽  
Frontier Mythology ◽  
The Way

As a Russian mountain-forest policeman and writer of the Harbin diaspora, B. M. Yulsky combined in his prose the experience of the police service and ideas about the ethnoculture of the Chinese who inhabited the territory of the Far East. This article contains a hermeneutic and comparative historical analysis of the short story The Way of the Dragon (1939) by B. M. Yulsky. The artistic morphology of the dragon is built on the comparison of its image in Chinese, Amur, Slavic and European cultures. One of the key images in the Russian heroic epic, in the Christian legend of Saint George, in Western and Northern European mythology, the dragon is actualized in modern literature. The analysis involves a philosophical treatise and a Chinese classic novel. It is shown that in the Chinese mythopoetic consciousness the temper and morphology of the dragon is different from its interpretation in European and Russian texts. The content of the short story by B. M. Yulsky speaks about his acquaintance with the understanding of the dragon, which is more characteristic in Chinese culture. The writer integrated the archaic image of the werewolf dragon into the real situation and brought a legend to the history of Honghuzi. The facts set forth in the monograph by D. V. Ershov are the real confirmation of the story described by B. M. Yulsky. The Way of the Dragon is an example of the artistic ethnography and the authorial frontier mythology that have developed in Russian literature in Harbin.

‘For the life of him he could not remember’: Post-war Memory, Mourning and Masculinity Crisis in Katherine Mansfield’s ‘The Fly’

2016 ◽  
Author(s):  
Avishek Parui
Keyword(s):  
Short Story ◽  
Traumatic Memory ◽  
Politics Of Memory ◽  
War Memory ◽  
Post War ◽  
Masculinity Crisis ◽  
The Way

This article examines the entanglement between masculinity crisis and traumatic memory as described in Katherine Mansfield's short story ‘The Fly’. By exploring the way Mansfield depicts the figure of the ‘boss’ in the story as symbolic of the stubborn resistance against the natural organic order of time, the article investigates how such a memory project of preservation fails with all its masculinist hubris. Drawing on Pierre Janet’s notions of traumatic memory and narrative memory and on Freud’stheory of traumatic repetition and castration, the article attempts to locate the politics of memory in Mansfield’s story alongside the politics of masculinity that perversely equates male hysteria with performance and prestige.

Staircases, fires; bombs, milk, wombs, wax, hangmen, sleep, rabbits, stew; a Mars Bar, pinpoints; lovely peaches

2019 ◽  
pp. 49-70
Author(s):  
Deborah Bowman
Keyword(s):  
Short Story ◽  
Writing Process ◽  
World Views ◽  
Writing Prompts ◽  
Dylan Thomas ◽  
The Way

Dylan Thomas often described his writing process as one of putting-in: poems are ‘“watertight compartments”’; he was ‘tightly packing away everything I have and know into a mad-doctor’s bag’. To be sure, Thomas’s writing has in it a lot of containers, the escape of whose contents constitutes a threat or a promise or an enacted drama: rooms, houses, mouths, towns, tins of peaches, dead dogs, world-views, stomachs, keepings of secrets and guilts. This chapter offers an approach to some of these things, and in doing so reveals another peculiarity: the way in which Thomas’s ‘tightly packed’ writing prompts in his critics an urge to explain, unfold, and unpack his ‘mad-doctor’s bag’, combined with an anxiety and embarrassment about the propriety of seeing and touching what’s in it, which they might even turn out to have illegitimately smuggled in themselves. A poem is a can of worms; opening some of Thomas’s, this chapter explores ways in which criticism could be something more than a worm-tidy. The chapter looks into numerous cans of worms, including ‘The Conversation of Prayers’, ‘Request to Leda (Homage to William Empson)’ – the chapter touches on Empson and pastoral – and a short story called ‘The Peaches’.

Favelas for Sale

2017 ◽  
Author(s):  
Kátia da Costa Bezerra
Keyword(s):  
Short Story ◽  
Cultural Productions ◽  
Modes Of Representation ◽  
The 1950S ◽  
The Way

This chapter analyzes the short-story “Maria Déia” written by Lia Vieira, which traces the story of some residents who were evicted from Morro de Santo Antonio in the 1950s. It also examines the video ImPACtos produced in 2010 by the collective multimedia group Favela em Foco. These two cultural productions enable us to trace a series of discourses/modes of representation that have been used to legitimize and justify urban interventions. This chapter examines the way both cultural productions challenge the recurring, dominant representations of favelas as a space of otherness and/or spectacles of consumption. The chapter illustrates how these cultural productions allow us to understand that these urban interventions are not simply a dispute over the control of a territory, but are part of the continuing struggle over the meanings and boundaries vis-à-vis conflicting views of citizenship and belonging.

Lankesh, P. (1935–2000)

2018 ◽  
Author(s):  
V.B. Tharakeshwar
Keyword(s):  
Public Sphere ◽  
Short Story ◽  
Theatre Of The Absurd ◽  
Story Writer ◽  
Plot Structure ◽  
The Way

P. Lankesh was a prominent Kannada novelist, short story writer, playwright, and essayist. A strong voice in the Kannada public sphere from the 1970s to the 1990s, he acted as a conscience-keeper not only through his writings, but also through Lankesh Patrike, a weekly he edited. Lankesh began his career as a teacher of English at Bangalore University, but soon shifted to filmmaking, then journalism. His short story collections Kereya Neerannu Kerege Chelli (1963), Nanalla (1970), Umapatiaya Scholarship Yaatre (1973), Kallu Karaguva Samaya (1990), and Ullanghane (1996) are landmarks in Kannada literature for the way they framed the debates in the respective decades. In his first novel, Biruku (1967), Lankesh used modernist techniques in writing, while his second novel, Mussanjeya Katha Prasanga (1978), shifted to the epic mode with episodic, multi-plot structure and a more realistic style of narration tinged with the comic. His third novel, Akka (1991), which depicts a woman of a slum through the eyes of her brother, was more pronouncedly political, reflecting Lankesh’s changed sensibility in the context of the Dalit and Bandaya (revolt) movement in Kannada literature, of which Lankesh was a vocal supporter. Lankesh was also one of the most important Kannada playwrights of his time, alongside Girish Karnad and Chandrashekar Kambar. His early plays exhibit the influence of existentialism and the Theatre of the Absurd. The best examples are T. Prasannana Gruhasthashrama (1962), Nanna Thangigondu gandu Kodi (1963), Polisariddare, Eccharike! (1964), Teregalu (1964), Kranti bantu, Kranti (1965), and Giliyu Panjaradolilla (1966). His later works Sankranti (1971) and Gunamukha (1993) are historical plays that reverberate with contemporary significance.

The Etiquette of Eating

2018 ◽  
Author(s):  
Karen Stohr
Keyword(s):  
Short Story ◽  
Moral Community ◽  
Moral Life ◽  
Moral Significance ◽  
Binding Force ◽  
The People ◽  
The Way

This chapter explores and defends the idea that the etiquette conventions governing dinner parties, whether formal or informal, have moral significance. Their significance derives from the way that they foster and facilitate shared moral aims. I draw on literary and philosophical sources to make this claim, beginning with Isak Dineson’s short story, “Babette’s Feast.” I employ the concept of ritual from Confucius and Xunzi, as well as Immanuel Kant’s detailed discussion of dinner parties in the Anthropology. Kant’s account, in particular, helps illuminate how properly conducted dinners can enhance our understanding and promote moral community among the people who attend. I conclude that dinner parties play an important role in the moral life, and that the etiquette conventions governing them derive their binding force from their contribution to that role.

Culture, detention and exile

1982 ◽  
Vol 11 (1) ◽  
pp. 25-28
Author(s):  
Jorge Musto
Keyword(s):  
Short Stories ◽  
Latin America ◽  
Short Story ◽  
Military Coup ◽  
Theatre Company ◽  
The Rich ◽  
Cultural Movement ◽  
The Way

Among the exodus of Uruguayan artists and intellectuals described by Hortensia Campanella (p 29) is Jorge Musto. whose short story ‘Pale Browns and Yellows’ we published in Index on Censorship 2/1981. As actor, theatre director and journalist, Jorge Musto was associated with the two best-known standard bearers of the rich cultural movement which blossomed in Uruguay before the 1973 military coup: the El Galpón theatre company (Index on Censorship 2/1977 and 2/1979) and the weekly magazine Marcha (4/1974 and 2/1979). He has published several novels and short stories, and now works as a translator in Paris, having fallen victim in 1972 to the repression which paved the way for the final military takeover. It was in Paris that the following interview was carried out in February 1981 by Index on Censorship's Latin America researcher. Our apologies for having held it over for so long, for reasons entirely of space. The interview is translated from Spanish.

scholarly journals On the way to Mecca: A short story by an exiled Iranian writer

1984 ◽  
Vol 13 (5) ◽  
pp. 11-11
Author(s):  
Hushang Mehr-Ayin
Keyword(s):  
Short Story ◽  
The Way
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