scholarly journals The voice of women in the Malayalam Literatures

2021 ◽  
pp. 15-20
Author(s):  
Saranya T
Keyword(s):  
Central Character ◽  
The Novel ◽  
The Voice

The word bursa means keeping your face open. Barda's opposite is that sabita, the central character of the novel, has opened her face. He has also opened his mind. It is learnt that Muslims question the rituals of their religion, which sabita denies saying that it is the highest of all, and that only those who belong to their minds can reach heaven. Moreover, christianity withdraws from the true and light redeemer of the spiritual violations committed in the name of religion, the atrocities that take place within monasteries, and the spiritual and light that prompted him to get out of life that he had been conducting for more than twenty-four years. Although both belong to a different religion, this article reveals that their theocratic principles are the same.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

scholarly journals Recalculating the White Page-GPS Love in Comme dans un film des frères Coen

2016 ◽  
Vol 5 (1) ◽  
pp. 53-72
Author(s):  
Valerie Hastings
Keyword(s):  
The Novel ◽  
Main Character ◽  
Creative Activity ◽  
Moving Images ◽  
The Voice ◽  
The Way

Abstract Hastings reads the novel Comme dans un film des frères Coen (2010) by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” (speaks too much) therefore recalling the name of the actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself.

scholarly journals Women in Patriarchy: A Study of Sexual Colonialism in Colleen McCullough’s The Thorn Birds

2020 ◽  
Vol 8 (7) ◽  
pp. 52-59
Author(s):  
Dr. Deepali Sharma
Keyword(s):  
Women Characters ◽  
Central Character ◽  
Colonial Rule ◽  
The Novel ◽  
Australian Society ◽  
Women Of Letters

Colleen McCullough, a famous Australian women novelist, extensively deals with the issue of sexual colonization by exhibiting the fact that this world belongs to men not to women where women suffer and men cause them pain. Meggie, the central character in the novel is shown as the victim, sufferer and the colonized individual and Paddy, Ralph and Luke are shown as the epitome of the British colonizers who misused, misbehaved and degraded the women during their colonial rule. The novelist while sketching women characters does not asseverate as ostensible women of letters but for the delineation of patriarchy in the novel The Thorn Birds which clearly manifests her declivity in the vicinity of the infringement with women in Australian society. 

scholarly journals Humanism in Red: A New Mainstream Narrative in the Pop Songs in 1980s' China

2021 ◽  
Author(s):  
Lijuan Qian
Keyword(s):  
Young People ◽  
Popular Music ◽  
Chinese Literature ◽  
The Novel ◽  
The West ◽  
Oxford University ◽  
Film Version ◽  
The Voice ◽  
Recurrent Theme ◽  
Recent Interpretation

This is a preprint of an article accepted for publication in Oxford Handbook of the Music of China (Oxford University Press ) The articulation of humanism is a recurrent theme in various Chinese literature and arts over the history. One of such well-known cases is the classic novel Journey to the West (Xi you ji) dates from the 16 th Century which stresses the issues of freedom, fighting with the authorities, the loss of belief, and the importance of self-direction. Various adapted versions from this novel popular over since then which hinted strong desire to humanism expression under China’s tight central governance. The recent interpretation of nationwide impacted products is an online novel The Wu Kong’s Biography (Wukong zhuan, written by Zeng Yu, pseudonym Jin Hezai, 2000) which adding the ambitions to challenge the authorities, an imaginary compensation of the young people in China (Liao, 2017). The great popularity of the novel leads to the release of its film version Wu Kong in 2017. Even the theme song of this movie “Equaling Heaven” (music and sung by Hua Chenyu, lyrics by Jin Hezai) brings a real hit in Chinese popular music scene. It was performed by Tibetan singer Zahi Bingzuo, the 2017 winner of The Voice of China in his final song-battle in that show (Qian, 2017: 57-8) and then Hua Chenyu in the TV talent show Singer (Geshou) in 2018. The humanism articulation of the song, same as in the novels and movie, shown well in the song: When I were young and wild, were worthy of it, who would give me a belief? …I could still smile before dawn… ignore the fate decided by the god and I would say the fate follows my heart. 1 Humanist articulations are part of a trend in Chinese pop song that dates back to the 1980s, when that genre first reappeared as an indigenous entertainment genre within China itself. As a transitional phrase during which multiple pre-existing and newly emerging social

The Coptic Church in Popular Fiction on the Eve of the Arab Spring:Youssef Ziedan’s Azazeel

2018 ◽  
Author(s):  
Nichole Perera
Keyword(s):  
Popular Fiction ◽  
The Novel ◽  
Academic Scholarship ◽  
The Subject ◽  
Coptic Church ◽  
Significant Addition ◽  
Theological Controversy ◽  
The Arab Spring ◽  
The Relationship ◽  
The Voice

The 5th century CE was a period of intense theological controversy concerning the relationship between the human and divine in Christ. This dispute led to the permanent separation of the Egyptian Coptic church from Imperial Orthodoxy. The events of the 5th century, previously confined to academic scholarship, have recently become the subject of popularizing works like Agora (2009), The Jesus Wars (2010), and 428 AD (2009). The Arabic novel Azazeel (2009), written by the Egyptian Islamic scholar Youseff Ziedan, is a significant addition to these other works. Like The Da Vinci Code in its use of “actual” historical evidence, Azazeel purports to be a compilation of newly discovered Syriac scrolls written by the Coptic monk Hypa, which detail his spiritual trials between 411 and 437 CE. The novel sparked great controversy in Egypt among Coptic Christians for creating a misleading picture of important figures and events in their early history. Copts felt that a Muslim scholar was appropriating the voice of a Coptic monk without clearly signalling it was a work of fiction in order to produce a false account of Coptic origins. Though published before the Arab Spring, it soon became further evidence of the oppressive intentions of the Muslim majority against a Coptic minority in Egypt. Azazeel is different from other similar works in English because the events of the 5th century are still part of the living identity of Copts.

Collage and the Anxiety of Self-description: Blood and Guts in High School

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
High School ◽  
Twentieth Century ◽  
The Novel ◽  
Original Manuscript ◽  
Poetic Function ◽  
1960S And 1970S ◽  
The 1960S ◽  
Materiality Of The Text ◽  
The Voice

Chapter 2 addresses Acker’s practice of collage, and the anxiety of self-description. Blood and Guts in High School is positioned in relation to both the Dadaist collage and montage practices of artists such as Hannah Höch at the beginning of the twentieth century, and the subversive publications of the 1960s and 1970s: mimeographed magazines, and the punk and post-punk medium of Xeroxed publications. The original manuscript of Blood and Guts in High School housed in the archive possesses a different materiality to the published version of the novel. The materiality of the text in its collage and typographic experimentation is situated in a counter position to the language and hegemonic discourses within which Janey, the voice of the text, is imprisoned. Drawing on Acker’s practices of illegibility, and Denise Riley’s work on language and affect, the chapter argues that Blood and Guts in High School, through its experimental form, reveals the anxiety of self-description that Janey experiences within conventional language structures. Illustration, experimental typography, non-referential language, and the use of the poetic, function in Blood and Guts in High School as sites of an alternate language that emerges through compositional form and experimental forms of iteration.

History as Destiny: Gobineau, H. S. Chamberlain and Spengler

1997 ◽  
Vol 7 ◽  
pp. 73-100 ◽  
Author(s):  
Michael Biddiss
Keyword(s):  
Central Character ◽  
New Work ◽  
The Novel ◽  
The World ◽  
History Of

THE novel which won the 1987 Booker Prize was Penelope Lively's Moon Tiger. Its central character is an historian whom, on the opening page, we find already near to death. Even so, she is meditating about the completion of a new work: ‘A history of the world. To round things off. I may as well—no more nit-picking stuff about Napoleon, Tito, the battle of Edgehill, Hernando Cortez … The works, this time. The whole triumphant murderous unstoppable chute—from the mud to the stars, universal and particular, your story and mine.’ And she adds: ‘I'm equipped, I consider; eclecticism has always been my hallmark.’

scholarly journals Postcolonial dilemmas in Kiran Desai’s The Inheritance of Loss

IJOHMN ◽  
2017 ◽  
Vol 3 (5) ◽  
pp. 15
Author(s):  
Abraham Panavelil Abraham
Keyword(s):  
Sense Of Belonging ◽  
Traumatic Experiences ◽  
Central Character ◽  
The Novel ◽  
Material Loss ◽  
Material Wealth ◽  
Diasporic Literature ◽  
To Come

The paper will try to analyze Kiran Desai’s Booker winning novel The Inheritance of Loss as story dealing primarily about the problems of migration faced by her characters, their tensions and dilemmas. One of the major concerns of diasporic literature is the problem of exile, displacement and the resulting consequences. Uprooting from one’s own home land is an agonizing process that brings numerous material and emotional traumas in the process of re-rooting in an alien land. The characters are often victims of circumstances and by the time they realize the problems, they are exhausted, miserable and frustrated.  Even when they come back after their traumatic experiences, like the Judge in the novel, they often develop a sense of distrust and anger. They are in a state of confusion from which they find it difficult to come out. The paper will focus on the experiences of some of the characters in the novel – Jemubhai Patel, the Judge, and Biju, the son of Judge’s cook who is the central character of the novel. The book seems to suggest that true happiness does not lie in material wealth or comforts, but in one’s own dignity, identity and sense of belonging. In the novel, the characters especially Biju has to undergo number of traumatic experiences that brought a lot of material loss, but he has a spiritual gain- the realization of what brings true joy in life.   Keywords: Alienation, Assimilation, Diaspora, Hybridization, , Identity, Immigrant, , Postcolonial

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