MAGICAL REALITY IN A. NURI NOVEL “PASSENGER OF HIS DESTINY”

The subject of analysis in the article is a different, magical reality in the novel by the modern Tatar Russian-speaking writer A. Nuri “Passenger of his destiny”, the ways of its creation and functioning at different levels of the artistic organization of the text. The complexity of external and internal boundaries is shown both in the space of the physical objective world, depicted in the novel, and in the consciousness of the protagonist, who is trying to understand the world and the nature of magical reality. If the world of physical reality is meaningful and logically cognizable, then dreams, hallucinations, secret signs become the methods of cognizing another reality. The author examines the influence of the works of Gabriel García Márquez, Miguel Angel Asturias, Salman Rushdie both at the level of macropoetics (the space-belt component of the novel) and at the level of micropoetics (images, episodes, motifs) on the artistic world of the novel. The article shows connections with oriental narrative discourse and fairy-tale imagery. Conclusions are drawn about the connection between the aesthetics of the novel and the aesthetics of magical realism.

ENCODING REALITY INTO FICTION/ DECODING FICTION AS REALITY: POSTMODERN HISTORIOGRAPHY AS CRITICAL THEORY

This paper is intended as a brief critical review of three interrelated, fairly similar critical theories, born out the necessity of looking into cultural forms and products with a view to finding the politics at work therein. While American New Historicism is more historically oriented, British Cultural Materialism, with its more obvious influence from Marxism, Postcolonialism and other theories which place the margin at their centre, seems to be more in tune with contemporaneity, and so is the area of Cultural Studies, with its emphasis on cultural representations. It is advocated here that contemporary fiction cannot be fully separated from other textual forms, which are considered here historiographic (not historical) because of their nature of texts produced subjectively, within a certain political, social and cultural context, irrespective of their assumed scientific objectivity. Literature, it is further argued, has become a discourse-oriented endeavour with an active participation, an idea supported in the present study by making reference to several critical and polemic writings by Salman Rushdie, which, in a topsyturvy, postmodernist manner, are foregrounded before, and not after the literature review proper.

South Asian Readings of Gabriel García Márquez

South Asian interest in Gabriel García Márquez and his works has been intense and diverse, and mapping its multiple trajectories offers a historical field of enquiry for assessing the reception of this Latin American writer in the subcontinent. This article uncovers various strands of the conceptual armature at work in the South Asian critical readings of García Márquez and magical realism. These range from approaches that privilege the “Third World” provenance of the genre; to the poststructuralist critique of such Third World nationalism; to the discomfort with an intermediating Euro-American critical apparatus, as also with decolonial readings of García Márquez’s magical realism as a transformative mode charged with a political dimension. The deployment of the “non-mimetic” realist mode in the works of diasporic South Asian writers such as Salman Rushdie or Michael Ondaatje has been noted by critics and is central to positing magical realism as the literary language of postcolonial writers. This article additionally explores the mode’s sturdiness in the works of some of their counterparts in the bhashas, that is, writers of the so-called vernacular languages of the subcontinent. It is in these languages with robust literary traditions such as Bengali, Malayalam, Sinhalese, Tamil, Kannada, Hindi, and Urdu that García Márquez’s works have been intercepted through translations for the vast majority of readers in India, Pakistan, Bangladesh, and Sri Lanka, who do not read them in metropolitan languages. The article critically maps these diverse modes of accessing García Márquez in the “lettered cities” of South Asia.

A Study of Cultural conflict and trauma of the protagonist in Amitav Ghose’s The Glass Palace

Amitav Ghosh is one of the most popular novelists of the period, with an amazing intelligence of place, history and politics. Ghosh has joined the ranks of notable novelists such as Monohar Malgonkar, Shashi Tharoor, Khushwant Singh, Salman Rushdie, Chaman Nahal, and others. In Ghosh’s novels, one may detect a feeling of historical realism. Ghosh’s writings are characterised by a strong desire for strong identifications and race relations. Amitav Ghosh recognises that society must be reformed from problems such as caste system, gender discrimination, ill-treatment of women, child marriages, poverty, exploitation, and demonic tradition, among others. Ghosh’s humanistic approach provides voice to the forgotten and lowly women characters in his works. He wants to free the entire world from the squabbles of caste, race, gender, religion, untouchability, and geographical dislocation that obstruct human development. It is also demonstrated how the sacrifices of marginalised and female characters have gone unnoticed in the pages of history. This paper examines the Cultural conflict and trauma of the protagonist in AmitavGhose’s The Glass Palace.

Author, text and cultural meaning: Vijay Mishra's Salman Rushdie and the genesis of secrecy

Vijay Mishra's meticulous analysis of the Rushdie Emory Archive - Salman Rushdie and the Genesis of Secrecy - is one of the most significant paperbacks to have been released in humanities publishing in 2021 (originally published in hardback in 2019). In one sense this book might be understood as a literary project, one that enriches understanding of the Rushdie's published works through the perspectives gained from close reading and detailed cross-referencing of Emory's extensive collection of the author's personal papers, unpublished manuscripts, digital materials and ephemera. However, to categorise The Genesis of Secrecy simply in terms of its literary credentials would be to overlook its conceptual and methodological value to wider areas of culture and media research. With this broader frame in mind, this review essay considers the book from an interdisciplinary perspective.

The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved

The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales. The German critic Franz Roz introduced the concept of Magic realism in 1920 and it was first used in paintings. The term was introduced in the book Post-expressionism, Magic Realism: Problem of the Most Recent European Paintings in 1925. The purpose here is to analyze the elements of magic realism in the novel, Beloved. We can see supernatural elements in Sethe’s house that bring chaos by haunting everyone through its mysterious presence, and making Sethe’s both the sons Howard and Buglar run away. It appears to be the ghost of a baby which was murdered by Sethe. The ghost causes the things in the house to break and shake mysteriously. In magic realism fiction the ghosts are the central characters generally. In the novel Beloved Morrison has portrayed the ghost as a living person. Thus, the dominance of a unique, mystical and gloomy atmosphere can be seen throughout the novel.

Negotiation for a free belonging: Home and human rights in Bhattarai’s Registän Diary

Home and human rights appear as interwined categories in narratives related to migration. However, these two categories have not been amply explored as proximate matters in any migration related texts such as Registän Diary. Home is not only a place for dwelling with varying frameworks but also many other things like a space, a feeling and a will to belong. Having a home, a place to dwell and belong, is one of the basic rights of human, specifically in line with the view that human rights are rights held by individuals simply because they are part of the human species regardless of their sex, race, nationality, and economic background. In this paper, the researcher, remaining within the paradigm of qualitative research, draws ideas from the scholars alike Pico Iyer, Salman Rushdie, Shalley Mallet, Lynn Hunt, Joseph R. Slaughter, examines the life narratives of the labour migrants to the Gulf from Nepal, argues and concludes that be it through the multifaceted depiction of home or cases of human rights abuse, Registän Diary negotiates a free belonging for all the citizens in a secure world.

POTRET KEHIDUPAN INDIA PASCA MERDEKA DALAM NOVEL MIDNIGHT’S CHILDREN KARYA SALMAN RUSHDIE

Midnight’s Children merupakan sebuah novel realistis magis yang menjadi salah satu karya terabik dari salman rushdie yang terbit pada 1981. Novel ini berkisah tentang anak-anak yang lahir tengah malam di tanggal 15 agutsus 1947 yang bertepatan dengan hari kemerdekaan Negara India. Penelitian ini berusaha untuk menggambarkan kehidupan di India setelah poklamasi kemerdekaan yang digambarkan oleh Salman Rushdie melalui kehidupan anak-anak tengah malam. Penelitian ini menggunakan metode kualitatip desriptif dengan metode analisis konten. Penelitian ini menggunakan pendekatan sosiologi sastra dalam memahami hubungan karya sastra dengan fenomena sosial yang terjadi di India pada awal kemerdekaan.