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People’s Art or Performance of the Elites?: Debating the History of IPTA in Bengal

Binayak Bhattacharya, EFL University, Hyderabad

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Abstract

This article attempts to re-read the cultural history of the Indian People’s Theatre Association (IPTA) within the larger context of the progressive nationalist politics of Bengal. The purpose of this re-reading is to engage in a debate to locate the political status of the various non-urban, non-elite, non-middle class performative practices within the political strata of IPTA. The article reiterates that the Left politics of Bengal maintained an inseparable alliance with the Bhadralok class since its early days and by virtue of this alliance, the hegemony of the Bhdraloks remained secured. Consequently, within the practical domain of the Left politics vis-a-vis the IPTA, the middle class intelligentsia kept controlling the performative arena by restraining the movements of various non-Bhadralok forms. By citing references from the writings of Sudhi Pradhan and Hemango Biswas, this article contemplates to enter into a lesser-known chapter from the glorified history of IPTA.

Cities of Struggle and Resistance: The Image of the Palestinian City in Modern Arabic Poetry

Saddik M.Gohar, UAE University, UAE

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Abstract

This paper aesthetically articulates the representation of the Palestinian city in modern Arabic poetry in order to argue that while Arab -and non-Arab poets-incorporate  variety of attitudes toward the city ,  the presentation of the Palestinian city reveals a radical difference from the rest of Arabic and non-Arabic poetry  due to the peculiar history of struggle, resistance and victimization characterizing life in the Palestinian metropolis.  To the Palestinian poets, in particular, the city is part of a homeland they have lost or a refugee camp that has been resisting the invaders for decades.  Contrary to western cities  inhabited by alien residents such as Eliot’s Prufrock, or Arab cities populated by strangers, outsiders, whores, outcasts and political prisoners  as in the literary  cities of Badr Shaker Al-Sayyab  and Ahmed Abdul-Muti  Hejazi , the Palestinian city is inhabited by heroes and martyrs.  These heroes who appear in contemporary Palestinian poetry and take different shapes personify the struggle and resistance of a nation that has frequently refused to surrender at times of crisis.  Representing the spirit of the Palestinian people confronting  a world replete with  treachery and hypocrisy,  the Palestinian city and its nameless heroes , in contemporary Arabic  poetry, is an embodiment of  an eternal and unlimited Palestinian dream , the dream of return, rebirth and liberation.  In this context, the paper affirms that unlike Arab cities which are associated with decadence, corruption, exploitation and moral bankruptcy, the Palestinian city,  due to the Palestinian history of exile, resistance, victimization and pain, is viewed in Arabic/Palestinian poetry as a location of heroism,  struggle, defiance and martyrdom.

In the World of Men: Tagore’s Arrival in the Spiritual Domain of Nationalism

Banibrata Goswami, Panchakot Mahavidyalaya, India

Abstract

Rabindranath Tagore was born in a family which, on one hand, inherited a legacy of rich Indian culture, and on the other, did not hesitate to welcome the modernism, freshly arrived from Europe through waves of Enlightenment. He was sent early to England to imbibe the gifts of modern science and rationalism that could lead him to a standard and secured career. But even though the discipline of work, love for liberalism and quest after scientific truth and technological perfection there impressed him much, in its over all effect the West’s efforts of de-humanization disappointed Tagore and disillusioned him as well. This led him finally to the realization and reconstruction of the motherland that is India. He came to meet the common man and his everyday sorrows and tears in rural Bengal, in Silaidaha, Patisar and Sazadpur where he was given the duty to look after the family estate. The raw and rough smell of the soil, the whirl of the waves in river Padma, the play of seasons on the strings of nature lent him a unique insight. He learnt to weave his words offering a perfect slide show of mutual reciprocation of man and nature, accompanied by a hitherto unheard melody of folk tune that glorifies the struggles of that life and thereby consolidating it gradually to a consciousness out of which a nation is born. The present essay intends to seek and understand the secrets of that story, which, though lacking miserably in sound and fury, strives towards a steady self emergence and emancipation paving the way for political freedom.

Representation of the ‘National Self’— Novelistic Portrayal of a New Cultural Identity in Gora

Dipankar Roy,Visva-Bharati, India

 Abstract

Any colonial rule involves a systematic and ruthless attack on the culture and heritage of the colonized race. This often results in a total loss or at least maiming of the sense of ‘self’ for the colonized people. The masculinist self of the colonizer labels the self of the colonized as ‘effeminate’. In reaction to this, the nationalist consciousness of the colonized people often tries to replicate the macho virility of the colonial masters in an act of fashioning a ‘nationalist self.’ In the context of Indian colonial history we see development in similar lines. But, the codification of the dominant strand of the nationalist consciousness in overt masculinist terms often have strange reverberations. This paper is about such an act of fashionning selves and its after-effects. To study the issue in the Indian colonial contexts I have chosen Rabindranath Tagore’s novel Gora as a case-study. The conception of this novel’s central character is largely modelled on the issue of an ‘ideal’ national self.  The author, however, by observing the dialogic principle consistently in the text, problematises the dominant ideas connected with the figure of ‘nationalist self’. How he does it will be my main concern in this article. Whether it is possible to arrive at a general tendency of the nature of India’s colonial encounter with the British in relation to the issue of the development of the national character will be dealt with in the concluding section of this essay.

Thinking about the Mexican Revolution: Philosophy, Culture and Politics in Mexico: 1910-1934

Aureliano Ortega Esquivel

University of Guanajuato, Mexico

Volume 2, Number 3, 2010Download PDF Version

DOI: 10.21659/rupkatha.v2n3.03

 Abstract

The commemoration of the two hundredth anniversary of the War of Independence and the centenary of the Mexican Revolution make this a good moment for some analysis and reflection on the influence that both events have had on the form and the meaning that Mexican intellectual production and cultural institutions have conserved throughout that time.  The aim of this essay, is to examine in how, and by what cultural and institutional means, a process of historical transformation as violent, convulsive, complex and radical as the Revolution ended up producing a remarkably favourable set of conditions for literature, music, the visual arts, education and, in particular, philosophy, whose earliest developments and contributions came between 1910 and 1934.

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