Debanjali Roy1 & Tanmoy Putatunda2
1, 2Assistant Professor, Department of English Language and Literature, Adamas University. Email: email@example.com
Received March 9, 2017; Revised on June 17, Accepted June 17, 2017; Published June 28, 2017.
Volume 9, Number 1, 2017 I Full Text PDF
The phenomenon called Robert Zimmerman aka Bob Dylan has always intrigued and fascinated the world for decades. The amorphous nature of his musical journey makes it difficult to map and define his career as an artist. Nonetheless, it’s been a while that academia has embraced Dylan and a number of books and research articles have since made their foray to analyse and appreciate a myriad career that has spanned across more than five decades. Through an overall study of Dylan’s musical oeuvre, this paper attempts to trace the diverse, fractured self that lies beneath the mask of the pop-icon.
Keywords: music, songs, self, enlightenment, postmodern, faith, protest.
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Presidency University, Kolkata, India
Volume 7, Number 3, 2015 I Full Text PDF
The idea that has been explored in the article is what makes a film postmodern and if there is an inevitable gap between form and content, between postmodern techniques and the narrative structure in the same. The article addresses how Woody Allen’s Midnight in Paris, which has been touted by certain critics as postmodern, adopts postmodern multiplicity of time and spaces and Allen almost plays with theses ideas but does not entirely succumb to them. Michel Foucault’s idea of heterotopia has been employed in studying the other space depicted in the film . The other space showcases Paris in the 1920s and Allen through his protagonist Gil highlights this as a celebratory digression and a moment’s liberation. The narrative is plugged into modernist attitudes, including a narrative closure, which does not allow it to be regarded as a postmodern film in its entirety.
Keywords : Allen, Midnight in Paris, Space, Nostalgia, Postmodern, Belle Epoque, Golden Age, theoretical, cultural, heterotopia, Gil
Debamitra Kar, Women’s College, Calcutta, India
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This paper attempts a reading of Italo Calvino’s novel, The Castle of Crossed Destinies (1969) from a postmodern perspective. The novel has always been seen as structuralist experimentation, particularly because it was written at a time when Calvino was associated with the OULIPO, the group of the French philosophers like Claude Levi-Strauss, Roland Barthes and others. The paper argues that the simultaneous reading of the words in the text and pictures in the margin, challenges the very practice and method of reading. The novel suggests that it can be read as a card game, a game that accentuates deferral and plurality of meaning. These conflicting readings create the semiotics of violence, which again is reflected in the theme of the stories. The paper cites example of three stories which show that the violence of language is codified as the violence of the feminine on the masculine, arguing that the feminine challenges the rules, laws, and structures of language as well as life and destroys things that adheres to any strict binary form. The conflict between the rule of the Father and the lawlessness of the Mother leads to no higher synthesis—it ends in violence that refuses all routes of communication or meaning.