New Screen Economies and Viewing Paradigms: The Ethics of Representation in Delhi Crime

The new technologies of television viewership following the digital turn have introduced new anxieties and possibilities. While new screen cultures facilitate a transnational viewership, the importance of ethically and morally grounded representations cannot be overstated. In this context, Delhi Crime, the Emmy award-winning Indian series based on the Delhi gang rape and murder of a 23-year-old woman in Delhi, will be instrumental in informing the ethico-political concerns that ought to be prioritized while representing the subaltern subject and the novel socialites fashioned through the new viewership patterns. This article attempts to understand the way in which the emerging screen economies provide new terrains for ethical representation and engendering digital publics. Thus, this article is interested in understanding the intersection of media ecologies and ethico-political concerns to introduce new dialectical possibilities.

Translation as Strategic Foreignization: A Study of the Politics of Translation in Mother Forest: An Unfinished Autobiography

The study draws upon Lawrence Venuti’s concept of foreignization as a strategic tool employed in the translation of CK Janu’s Mother Forest: An Unfinished Autobiography. The translation works to mould an ethnic autobiography and represent a subaltern subject through explicit signifiers of subalternity, masqueraded as an attempt to “retain the flavour of Janu’s intonation and the sing-song nature of her speech in translation”. As a mode of representation, this study identifies the text as catering to a transnational publishing industry and the global academic marketplace, transforming the cultural value of an ethnic subaltern text into what Graham Huggan describes as “tawdry ethnic goods” in the late capitalist supermarket.

Voices in Hostile Sources: In The Matter of Nat Turner and the Historiography of Reading Rebellion

This engagement with Christopher Tomlins’s In the Matter of Nat Turner (2020) focuses on a key methodological issue faced by the author, namely how one reads and positions the “authentic voice” of a past subaltern subject, known to us only through a hostile written source. This challenge is well-known to social historians of the European middle ages, and this essay suggests various ways in which Tomlins’s monograph contributes to existing debate, regarding both method and how one culturally situates and interprets the voice(s) thus identified, particularly with regard to the politics of apocalypticism.

Sin Nombre, Babel, and the Conflicts in Contact Zones

Contact zones can be understood as spaces where cultures meet and establish relations of power based on historical processes of domination and inequality. In such spaces and under such circumstances, power dynamics are sometimes resulted from the act of geographic dislocation, executed either by the individual from a central culture who is seen as the tourist or expatriate, or by the subaltern subject who travels to an imperialist nation in search of better prospects, who is seen as the – sometimes illegal – immigrant. The objective of this article is to examine Sin Nombre (2009) and Babel (2006), two films that bring representations of both instances of transit and the inequity of power, through the lens of the postcolonial concept of contact zones.

pluridimensionalidad lingüístico-cultural del relato condeano: la Bruja de Salem y su imaginario criollo

La escritura condeana constituye un ejemplo evidente de literatura poscolonial antillana, donde la dimensión social merece especial atención, al confluir en ella las problemáticas y consecuencias más relevantes del proceso de la colonización: esclavitud, estratificación social, exilio identitario, espiritualidad y creencias y en particular las cuestions relacionadas con la mujer, concebida aquí como modelo del sujeto subalterno, protagonista indiscutible en el relato de Condé. La descripción de estos elementos, a su vez enmarcados en un entorno natural sin precedentes, se sumerge en un fenómeno de hibridación lingüística, como resultado del mestizaje de múltiples comunidades poblacionales, que dota a la narración de unidades creolizadas, neologismos, expresiones idiomáticas y toda una serie de mecanismos lingüísticos que hacen de su escritura un melting pot literario y todo un desafío para la traducción. Condé’s writing is one of the most relevant examples of post-colonial literature. In this context, the social dimension deserves special attention, as it represents the intersection between the main difficulties stemming from West Indies colonization: slavery, social stratification, identity exile, religion and in particular, women’s issues. In this regard, the woman is undestood as a subaltern subject and she constitutes the undeniable protagonist of Condé’s story. Surrounded by a striking landscape, the description of all these elements is immersed in a linguistic hybridization, as a result of miscegenation of different communities. Thereby, the story has plenty of creolized words, neologisms, idiomatic expressions and a range of linguistic mechanisms that turn this narrative into a literary melting pot and into a real translation challenge. L’écriture condéenne constitue un exemple clair de littérature postcoloniale antillaise, où la dimension sociale est particulièrement digne d’attention, étant donné la convergence des principales problématiques et conséquences liées au processus de colonisation : esclavage, stratification sociale, exile identitaire, univers de croyances et notamment, les questions relatives à la femme, conçue ici comme l’archétype de la subalternité, héroïne indéniable du récit de Condé. La description de ces facteurs, inscrite à son tour dans un milieu naturel incomparable, se plonge dans une hybridation linguistique, résultat du métissage de plusieurs communautés, qui couvre le récit d’unités créolisées, néologismes, expressions idiomatiques et de toute une série de mécanismes linguistiques qui transforment cette prose en un melting pot littéraire et en un défi vis-à-vis de la traduction.

SUBALTERNITY IN AMITAV GHOSH’S SEA OF POPPIES: REPRESENTATION OF INDIAN WOMEN’S STRUGGLE AGAINST PATRIARCHY

This study analyses the subaltern that represented by Deeti in Amitav Ghosh’s Sea of Poppies. The subject of the subaltern as an Indian woman is struggling against patriarchy in society. This study uses the postcolonialism theory, including the theory of subaltern to analyze the representation of the subaltern subject who fights against patriarchy. That subject represented by Indian women as the subject of the subaltern. The narration of Deeti in the first Trilogy Sea of Poppies by Amitav Ghosh is the main focus of this study. This study using postcolonialism theory from Homi K. Bhabha and Gayatri Chakravorty Spivak, then subaltern theory also using Gayatri Chakravorty Spivak which describes how 'colonialized subject' lives and theories from Sylvia Walby and Gerda Lerner for the definition of patriarchy. So, this study mainly about how patriarchy will be related to Deeti as the subaltern explained by Gayatri Chakravorty Spivak. The data will be taken from many aspects such as dialogues, a depiction of the situation, characters, etc. This study analyzed two problems, which are (1) How is subalternity represented in Amitav Ghosh’s Sea of Poppies? (2) How do Indian Women’s struggle to fight against patriarchy in Sea of Poppies by Amitav Ghosh? The results of this study show that Subaltern represented by Indian Women. Then the struggle of Deeti as an Indian Woman and the other characters fights against the patriarchy.