Professional identity for successful adaptation of students – a participative approach

Galina Akhmetovna Gertsog,1 Viktoriya Valerievna Danilova,2  Dmitry Nikolayevich Korneev,3 Aleksey Viktorovich Savchenkov,4 Nataliya Viktorovna Uvarina5

1, 3, 4, 5Southern Ural state Humanitarian and Pedagogical University, Chelyabinsk, the Russian Federation

2Kostanay State Pedagogical Institute, Kazakhstan. Email:

Volume 9, Number 1, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n1.30

Received February 10, 2017; Revised April 16, 2017; Accepted April 27, 2017; Published May 5, 2017.


It is stated that in the Russian Federation, Kazakhstan as well as throughout the world the crisis of personal identity has become a big problem due to globalization in the society and multifaceted participation of people in social processes.  The article deals with the analysis of the concept of professional identity of the student on the basis of participative approach.  Professional identity is viewed as the main criterion and result of the student’s successful adaption to the learning environment, professional and creative activities as well as to changing social and cultural conditions.  The authors advocate for the proposition that the professional identity being the element of social and cultural identity allows students to overcome the state of anxiety, lack of confidence, tension, and dissatisfaction presenting the obstacles to the process of adaption to the changing conditions in the globalised world. The authors assume that   the study of the stated phenomenon of professional identification on the theoretical and empirical levels will allow implementing innovational technologies of coherent cooperation of social and cultural environment of the higher educational institution having impact on the professional growth of students. Professional identity is presented within the framework of both individuality and group.

 Key words: adaptation, participation, globalization, identity, professional identity, socialization, transformation.

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Writing Resistance: an Understanding of the Narratives of Empowerment in Toni Morrison’s A Mercy

C.L. Shilaja

Sathyabama University

Volume 8, Number 1, 2016 I Full Text PDF


Language is the medium by which one’s psychological experiences, emotions and imaginations can be recreated in the minds of the reader or listener. Through ages language has been the vehicle with which humans have communicated ideas to each other. Language has not only the power to heal and to comfort but also to retrieve the suppressed experiences of an individual from the past.This paper seeks to discuss Toni Morrison’s novel A Mercy as a text that explores the common language uncommonly well in using it as a double edged sword. She subverts language in a rather complex play of words employing it as a powerful tool for the survival and continuance of existence for the voiceless. It becomes a means of identity construction as much as a tool of empowerment, for the marginalized to overcome their traumatic experiences.

Key words: Toni Morrison, Suppressed Self, trauma, identity, language

Becoming Krshna: Panchali’s Quest in Chitra Banerjee Divakaruni’s The Palace of Illusions

Rajni Singh, Indian School of Mines, Dhanbad, India
Soumyajyoti Banerjee, Haldia Institute of Technology, West Bengal, India

Volume 7, Number 3, 2015 I Full Text PDF


Women autobiographical narratives draw on the centrality of the female experience in light of the politics of representation. This paper explores that experience in Chitra Banerjee Divakaruni’s novel. The study however, does not resort to standardised models of interpreting and analysing the female self, namely feminist criticism. It brings in Orientalism as a tool for interrogating that experience, primarily because the theoretical model of Orientalism supports the analysis of how the female self is created by a patriarchal hegemony and maintained through tradition. The study concentrates on the story of P?nc?li, the female protagonist of the Indian epic Mah?bh?rata as it is divulged in the novel. P?nc?li’s vision of herself and the world she inhabits is restricted by an orientalist culture that operates at the level of the nation as well as the domestic. The palaces she inhabits become more than just architectural edifices; they become embodiments of the motifs of a nationalist culture vitiated with orientalist concerns of cognitive dominance. P?nc?li’s efforts to break the shackles of tradition within the home and without it require her to counter such discourse with an entirely new aesthetic of narration and experience, one that is intimately connected to her ‘self.’ Her search for her own identity and space thus, turns out to be the search for her essential nature. Her futile efforts to construct a grandiose palace as a retributive symbol and her inadequacy at understanding the strength of the female self finally lead her to a self-sufficient, self-engaged rhetoric of completion. Hers is the story of a woman rising above the destiny which is set for her; it is the story of becoming K????.

Keywords: Orientalism, Panchali, Krishna, Quest, Identity

Krishna touches my hand…I am buoyant and expansive and uncontainable—but I always was so, only I never knew it! I am beyond name and gender and the imprisoning patterns of ego. And yet, for the first time, I’m truly Panchaali […] Above us our palace waits, the only one I’ve ever needed. Its walls are space, its floor is sky, its center everywhere. (Divakaruni, The Palace of Illusions 360)

When she wanted her tryst with history, P?nc?li, the daughter of King Drupada, born out of a sacrificial Yjña along with her brother Dh??tadyumna, never imagined that she would be the cause of a great Indian civil war, Mah?bh?rata. She was the fruit of vengeance; Drupada’s fury to consume his adversary Dro??c?rya. Chitra Banerjee Divakaruni in The Palace of Illusions concentrates on this story. In the novel P?nc?li, the protagonist, narrates the story of her life, a story of her quest to find out who she is.

Her quest begins, unknowingly, at a very young age, when she muses on her father’s palace: “Through the long lonely years of my childhood, when my father’s palace seemed to tighten its grip around me until I couldn’t breathe, I would go to my nurse and ask for a story” (Divakaruni, The Palace of Illusions 1). The first lines prepare the reader for the centrality of space in P?nc?li’s life as it develops into a search for her own palace, a space she can call her own. It becomes the ruling factor in her life. Of course this search, as we shall witness, is the fundamental search for womanhood, born and bred in hegemonic patriarchy. In P?nc?li’s case, it is also an assessment of the tensions between how women see and are seen, judge and are judged, a search to carve out a space of their own; of their (“emph. Showalter’s”) wilderness (Showalter 345). P?nc?li goes on to comment: “I hated the thick gray slabs of the walls—more suited to a fortress than a king’s residence…I hated the narrow windows, the mean, dimly lit corridors, the uneven floors that were always damp, the massive severe furniture from generations ago that was sized more for giants than men. I hated most of all that the grounds had neither trees nor flowers” (Divakaruni, The Palace of Illusions 6).

This description of Drupada’s palace unfolds key points about patriarchal hegemony in the narrative. Drupada is consumed by his acrid desire for revenge, which consummates in P?nc?li’s birth. She is, thus, from her inception, a child of a nationalist power struggle. Drupada’s palace and all ensuing palaces that P?nc?li inhabits become representations of this struggle. The aesthetics of the palaces become important because “any and all representations, because they are representations, are embedded first in the language and then in the culture, institutions, and political ambience of the representer” (Said 272). We argue, therefore, that the politics of the discourse of women as the Other (physiological, societal, cultural, ontological and intellectual) and consequent representations of that otherness emerge from the micro-level of the domestic and gradually seep into the outside. We also contend that the domestic is the site where the identities of womanhood are constructed, de-constructed and re-constructed regularly. For women like P?nc?li, then, constructing her subjectivity, her identity, happens in the twilight zone: between the accepted discourse and her own sensitivities; between nature and nurture; between the self and its other.

Understanding the female experience, as we intend to do, in that light, becomes increasingly difficult and it is essential that due attention is given to how and why such perspectival categories are formed and maintained. This is where we deviate from traditional feminist critiques by bringing in Orientalism (as theorised by Edward Said) to form the theoretical framework of our study. According to Said, the Orient (thus the Oriental) was formed as a special category because it was defined and delimited by a set of knowledge-systems disseminated through culture. Interestingly, a similar socio-cultural delimitation is traceable for another specific category: woman. In his book Said writes, “So far as the Orient is concerned, standardization and cultural stereotyping have intensified the […] imaginative demonology of “the mysterious Orient” (Said 26). Something similar happens in case of women. Traditionalist, nationalist hegemony, as in the concerned text, solidifies mythical representations about women, which percolate the domestic where they are regularly played out. Said writes, “[…] knowledge—no matter how special—is regulated first by the local concerns of a specialist, later by the general concerns of a social system of authority. The interplay between local and central interests is intricate, but by no means indiscriminate”…Full Text PDF

The Portuguese Queer Screen: Gender Possibilities in João Pedro Rodrigues’s Cinematic Production

Antônio M. da Silva, University of Kent, UK


The Portuguese filmmaker João Pedro Rodrigues has developed a significant cinematic production that has attained international recognition. The three feature films he made in the first decade of the 2000s (Phantom, Two Drifters, and To Die like a Man) engage with queer identities from different perspectives. This article examines the ways in which Rodrigues depicts these and argues that the films provide a spectrum of ‘performatively constituted’ identities that represent a challenge to patriarchy’s hegemonic subjectivities. It contends that such identities consequently represent abjection in a society that ignores them but also that the filmmaker gives them visibility and shows that their subjectivities do matter.


The transgender character Tônia in João Pedro Rodrigues’s Morrer como um homem/To Die like a Man (2009) sings a Portuguese fado in the final sequence of the film that opens with the line “Oh, how I’d like to live in the plural!” This line encapsulates how gender identities are constructed and depicted in the three feature films discussed in this article: they are ‘performatively constituted’ in the sense of Judith Butler’s (1990) assertion that “there is no gender identity behind the expression of gender; […] identity is performatively constituted by the very ‘expressions’ that are said to be its results” (34). In other words, these identities are ‘floating’ and not restricted to the biologically born gender.

In this trilogy-like set of feature films, which comprises his debut O fantasma/Phantom (2000), Odete/Two Drifters (2005), and To Die like a Man, Rodrigues offers the viewer a number of possible queer subjectivities. Queer means, in this case, all the identities that do not conform to hegemonic norms regarding gender and sexuality, including homosexuality, bisexuality, and transgenderism. Moreover, it can be argued that queer is also what represents “abjection” (Kristeva 1982), which is a view patriarchy exploits to keep heterosexual identities in place. This happens in a rather symbiotic relationship that arguably needs the queer as an opposite to reaffirm what heterosexual identities are (or what they are not). Such a symbiotic relationship is evident in many patriarchal contexts where masculinity is defined mostly in relation to queer: one is either a ‘proper man’ (whatever that means) or he is queer and thus subject to punishment.

Context therefore plays an important role in queer subjectivities, particularly the urban space where such ‘abject’ identities are less susceptible to punishment and are, to some extent, ‘freer’ from severe regulations. This is evident in the three films discussed herein, which show that Rodrigues’s characters become part of the Portuguese urban space, represented in the films by the capital, Lisbon—as will be developed later in this article. However, as Trindade (2010) argues in relation to the Portuguese film Lisboa, Crónica Anedótica/Lisbon, Anecdotal Chronicle, such characters are Lisbon dwellers but they do not constitute a collective entity (or identity). This is a crucial point regarding these three films because the characters’ ‘failure’ to represent the identity of a group (a ‘category’) to the detriment of each individual’s has been an issue critics have picked on. In other words, Rodrigues’s films show the viewer a spectrum of gender identities but these are based on the individuality of the subjects he portrays rather than trying to create a collective queer identity. Despite this, his approach to queer indicates that such a term can work as an umbrella under which various kinds of gender subjectivities are possible. This is strongly indicated by the director himself stating in an interview that each film is a unique story, even if it could be related to the outside world (Lim 2009).

The aim of this article is therefore to discuss the queer subjectivities Rodrigues constructs in his films and how these are related to the urban space in which the characters are placed. It will refer mostly to Julia Kristeva’s theorisation of abjection while discussing the characters’ subjectivities because these queer characters are part of an urban environment that allows them to get on with their lives as they are but makes them ‘socially invisible’ by treating them as ‘abject’ and refusing to see their existence…Access Full Text of the Article

The Portability of Indianness: Some Propositions

Pramod K. Nayar,  University of Hyderabad, India

We live in the age of portability. When the Government of India (GoI) offered Mobile Number Portability (commonly abbreviated as MNP) and the eventual abolition of national ‘roaming charges’ it was only one more instance of what might be called the portability-ethos of our everyday lives. Our everyday lives can go with us anywhere we go in India. Indeed, I am proposing here that we perform Indianness in the form of a certain portability.

The “Politically Correct Memsahib”: Performing Englishness in Select Anglo-Indian Advice Manuals

S. Vimala, M.G.R. College, Hosur, India

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Examining select Anglo-Indian advice manuals written after the Indian Mutiny in 1857and during the ‘high imperialism’ period of the British Raj, the essay proposes that this cultural artefact served the purpose of constructing and naturalizing the English Memsahibs’ gendered racial identity. By reiterating the performance of gender, class and race imperatives to construct a unique identity prerequisite for the Anglo-Indian community as well as the Indian colony, these texts aimed at the crystallization of this identity that will strengthen the idea of the British Raj. Such reiteration- apart from revealing the imperial anxiety of the subversion of the Memsahib identity- were useful to caution the English women new to the colonial environment.  Reading these Anglo-Indian advice manuals produced for the consumption of the Anglo-Indian community, what the essay further proposes is that the performance of gendered-racial identity of the English women in India constituted not only the governance of their bodies and the Anglo-Indian spaces, but also their management of travel and material consumption including food.  Judith Butler’s Gender Trouble and Bodies That Matter provide useful insights to study the performance of the “politically correct Memsahib” identity and its attendant relation to the imagining of the homogenous British Raj.   

“I was not certain where I belonged”: Integration and Alienation in Mohsin Hamid’s The Reluctant Fundamentalist

Avirup Ghosh, Bhairab Ganguly College, Kolkata

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The article will focus on the contrary impulses of alienation and integration in Mohsin Hamid’s The Reluctant Fundamentalist that the central character and narrator Changez goes through in America while working as an employee at Underwood Samson, a “valuation” firm and his subsequent return to his native Pakistan where he assumes what appears to be an ultra-nationalistic political stance. This is to argue that Changez’s desperate attempt at assuming this stance has its roots not only in the cultural alienation and racism that he is subjected to in America, especially in a post-9/11 America, but also in his futile effort to naturally integrate with a Pakistani way of life.  By uncovering certain ambiguities in Changez’s ideological rhetoric, the paper tries show how Changez’s critique of American corporate fundamentalism stems from his lack of a sense of belonging and from a feeling of problematized identity.

Kittens in the Oven: Race Relations, Traumatic Memory, and the Search for Identity in Julia Alvarez’s How the García Girls Lost Their Accents

Natalie Carter, George Washington University, USA

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The search for an ever-elusive home is a thread that runs throughout much literature by authors who have immigrated to the United States.  Dominican authors are particularly susceptible to this search for a home because “for many Dominicans, home is synonymous with political and/or economic repression and is all too often a point of departure on a journey of survival” (Bonilla 200).  This “journey of survival” is a direct reference to the dictatorship of Rafael Leonidas Trujillo Molina, who controlled the Dominican Republic from 1930-1961. The pain and trauma that Trujillo inflicted upon virtually everyone associated with the Dominican Republic during this era is still heartbreakingly apparent, and perhaps nowhere is that trauma more thoroughly illustrated than in the literature of Julia Alvarez.  Alvarez is a prime example of an author who utilizes narrative in a clear attempt to come to grips with lingering traumatic memories.  After her father’s role in an attempt to overthrow the dictator is revealed, Alvarez’s family is forced to flee the Dominican Republic as political exiles, and a sense of displacement has haunted her since.  Because both the Dominican Republic and the United States are extraordinary racially charged, concepts of home and identity are inextricably bound to race relations in much of Alvarez’s art.  Using theoretical concepts drawn from the fields of trauma studies and Black cultural studies, this essay examines Alvarez’s debut novel in order to illustrate the myriad ways in which culture, politics, and race converge and speak through each other, largely in the form of traumas that can irreparably alter one’s sense of home, voice, and identity.

In ‘prison-house of love’[i]: The Bad Girl and bad girls of Mario Vargas Llosa

Tajuddin Ahmed, Netaji Subhas Ashram Mahavidyalaya, India

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Mario Vargas Llosa’s recent novel The Bad Girl centers around a sexually liberated woman who is in search of individual emancipation through transgressions of all social norms. The issue of female sexuality and its relation with woman liberation occupies an important and debatable position in Feminist discourse. Llosa’s own attitude to liberated female sexuality had been an ambivalent one. In this paper I would like analyse and explore the question of woman’s liberation in the novel of Mario Vargas Llosa, taking into account the major conflicting Feminist discourses as well as the presence and erasure of female sexuality in the history of Latin American novels. 

Border Identity Politics: The New Mestiza in Borderlands

Lamia Khalil Hammad, Yarmouk University, Irbid-Jordan

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This paper investigates Anzaldua’s Borderlands, first, for its radical theory of the mestiza consciousness and how it would establish the border identity for the Chicana/o people.Anzaldua’s Borderlands exemplifies the articulation between the contemporary awareness that ‘all’ identity is constructed across difference and argues for the necessity of a new politics of difference to accompany this new sense of self.  Borderlands maps a sense of the plurality of self, which Anzaldua calls mestiza or border consciousness. This consciousness emerges from a subjectivity structured by multiple determinants—gender, class, sexuality—in competing cultures and racial identities.   

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