Latest Articles - Page 22

Polyartistic Approach in Music Education: A Tool for Teaching and Developing Creative and Critical Thinking

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535 views

Jin Yaoquan1, Huang Ruiping2, Zhang Yang3, Valerii Marchenko4
1 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: jin_yaoquan@edu.cn.ua
2 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: huang_ruiping@edu.cn.ua
3 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: zhang_yang@edu.cn.ua
4 Scientific and Educational Institute “Academy of Arts named after S.S. Prokofiev,” V.I. Vernadsky Taurida National University, Kyiv, Ukraine. Email: valerii_marchenko@sci-univ.com

Received 15 May 2023, modified 02 June 2023, accepted 08 June 2023, first published 14 June 2023.

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.09
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Abstract

The article presents two models for introducing a polyartistic approach in Bachelor’s and Master’s training. The study emphasizes the need to integrate art and art education into the educational process as a factor in the development of creative and critical thinking, communicative and sociocultural competencies of future music teachers. The first model, known as the linear one, implies the inclusion of polyartistic disciplines and tracks in the educational program. This model allows students to choose electives that meet their interests and professional qualifications. This approach provides students with flexibility in planning their academic path and learning issues related to polyartistic education more comprehensively. The second model, the concentric one, is used in the Master’s degree programs. This model enables students to expand their knowledge and skills in the polyartistic component based on the knowledge gained during their Bachelor studies. Students study polyartistic subjects and thus expand their theoretical, methodological, and performing skills. These two models can be used for training secondary school music teachers and teachers of institutions of supplementary art education. The introduction of a polyartistic approach into the discussed models helps to better understand and apply art as a tool for teaching and contributes to the development of creative and critical thinking, communicative and sociocultural competencies of future music teachers. This article suggests new approaches to the formation of the professional identity of music teachers, the development of students’ creative abilities, and the use of modern technologies in polyartistic education. The conclusions of this article can serve as a basis for further research and development of practical aspects of introducing a polyartistic approach into the process of training music teachers.

Keywords: Polyartistic approach, teacher training, linear model, concentric model.

Precarity in Korean Film Industry: A Cultural Research Perspective

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613 views

Kyuha Ryoo
Lecturer, Department of Entertainment, Joongbu University, Korea. Email: entertainowl@gmail.com

Received 05 January 2022, modified 15 May 2023, accepted 05 June 2023, first published 13 June 2023.

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.08
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Abstract

The Korean film industry has achieved remarkable success in recent years. However, the filmmakers behind the scenes have received relatively little attention, leading to precarious labor conditions. This paper aims to shed light on the reality that filmmakers face through participatory observation at film production sites. Commercial film shooting sites were visited and observed 14 times over 3 months. The researcher observed various aspects of the film sites from a cultural research perspective. In particular, the researcher used the theory of flexibility to assess the type of employment, labor process, and socialization of filmmakers. The study revealed that Korean filmmakers experience labor flexibility and are constantly exposed to the risk of extreme work-life balance disruption and job loss. This is due to the nature of their work, which often involves long hours and tight deadlines. The study also found that Korean filmmakers are often underpaid and undervalued, despite their contributions to the industry. The researcher hopes that this study will raise awareness about the challenges faced by Korean filmmakers and encourage further research into this important topic. By shedding light on these issues, we can work towards creating a more equitable and sustainable film industry in Korea.

Keywords: Korean Filmmakers, Korean Filmmaking, Field Observation, Labor Flexibility

Film Review: Who is Encroaching? Narratives of Land Encroachment in Kantara

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1.7K views

Reviewed by

Kumuda Ch. Panigrahi

Assistant Professor of Sociology, Department of Rural Studies, Visva-Bharati University, Santiniketan, West Bengal-731235. Email id: kumudac.panigrahi@visva-bharati.ac.in

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.07
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Abstract

This paper reviews Kantara: A Legend, a Kannada language movie, released on 30th September 2022. This anthropological action thriller is based on the culture of coastal Karnataka, however cultural borders between Kerala and Karnataka, blur in many places. It flags off issues of tribals, forests, land encroachment and the mythology of smaller hamlets in rural India. ‘Kantara’ has brilliantly manifested the subject of land encroachment using historical narrative. Here, we found three narratives of land encroachment: 1) the Narrative of land encroachment by the feudal Zamindar, 2) the Narrative of Land encroachment by tribals and 3) the Narrative of Land encroachment by forest officers/state actors. While themes of tribal assertion, misogyny, untouchability, women’s empowerment and role conflict are meticulously discussed through character analysis of the movie.  Most intriguingly, the ideas of spirituality and community consciousness are discussed through a mythological analysis of the Kola festival, which appears as a site of solidarity and togetherness among the villagers. Overall, these themes have been woven like a fine tapestry of music, dance and drama.

Keywords: land encroachment, community consciousness, mythology, tribal assertion, solidarity.
 
Introduction

Tribals are known as the aborigines of Indian society who predominantly live in the forest and mountain region and completely depend on nature for their survival. Tribal communities are mostly isolated and prefer autonomy over their livelihood patterns. However, interference with their autonomy and independence began with the British colonial administration of India; through encroachment. This practice continued after the independence of India using development-induced displacement. It has not only undesirably impacted their lives, but also destroyed their socio-culture, economy, history and memories. Awareness and interest towards ‘other communities’ is the need of the hour, which might be best projected through cinemas and documentaries. Cinema is considered one of the key media of public voice, which flags off the social problems and challenges of specific communities and provides a nuanced picture of society’s institutions. However, issues of tribals, forests, land encroachment and displacement are rarely showcased by Indian cinema. With the release of   Kantara: A Legend is a Kannada language movie (released in Hindi, Telugu, Tamil, and Malayalam also), written and directed by Rishab Shetty and produced by Vijay Kiragandur, under Hombale Films on 30 September 2022, is a remarkable entry into the cinema industry on the subject which has been undermined and neglected for long.

This anthropological action thriller movie is designed based on the culture of coastal Karnataka (Tulunadu). Thus, this movie demands critical academic engagement. It’s a spiritual experience that is difficult to be described, rather than to be felt. It takes back to the tales grandmothers narrate to the younger generation, the folktales of Kings and Demons, of a spiritual connection between humans and Gods. Adjacent areas of Kerala hum stories of  Kummati Kali, Chakyar Koothu, Ottam Thullal, and the venerable Velichapadu. Kantara is set in the picturesque Tulu Nadu, which straddles the coastal region from Kasaragod in Kerala to Mangalore, Ullal, Udupi, and Kundapura in Karnataka and slightly beyond. The cultural borders between Kerala and Karnataka, blur in many places.  The Bhoota Kola reminds of the Theyyam art form of northern Kerala, which is almost extremely similar in music, costumes and trance. It also mirrors Velichapadu, the oracle in temples of Kerala, who is possessed by the spirit of God and serves as a bridge between the Deity and Devotees.

Plot and Character Development

The film narrates a story back and forth dating 1847 in the Kundapur village of Karnataka, where the king being disappointed with his life, went in search of peace towards the deep forests. He came across Guliga Daiva amidst the forest. The king answered his inner calling and agreed with Guliga Daiva to trade the forest land to the local tribespeople in exchange for peace and happiness. Over the generations, in the 1970’s the King’s successor demanded the land back from the tribals and also warns the court to appeal if denied his legitimate land. Soon he dies a mysterious death, often narrated (oral history/folklore) as the wrath of Guliga Daiva. The king’s descendants are not willing to honour that unwritten agreement, and as was expected of them, start demanding that the land be returned to them. More recently in the 1990s, Devendra (zamindar/successor of the king) hypocritically tried to get back the land in a deceitful manner (which includes treachery, murder and riots). On the other hand, the DRFO officer (named Murali) vested with the duty of drawing the boundaries of the forest, soon locked horns with the local villagers, restricting them from entering the forest and securing woods/ hunting animals (which had been prevalent for ages). To make matters more complicated, a villager (named Leela) who happens to be the childhood heart-throb of protagonist Shiva, with the help of the zamindar’s influence got the posting as forest guard. She is seen juxtaposed between her official role of demarcating forest boundaries and on the other hand, her obligations as a member of the community and village who needs to despise the tribunal of fencing forest land. Her character is depicted as an ensemble of feminine instincts with strong passion and commitment towards training and job. However, she is projected similarly to a concubine, who had an intimate relationship with the protagonist, beyond marital ties. Eve-teasing (pinching the waistline to express affection/spark) is also projected in a light tone, which gave way to love and acceptance. Misogyny of the society got reflected through the dialogue of the police, who assert that Leela has to satisfy Shiva out of love and satisfy the government out of Job.  She is time and again asked to leave her job by both villagers and her lover.  The DRDO officer suspended her for being disloyal towards her job, in trying to save Shiva from arrest.

Devendra (zamindar) wanted to seek vengeance against Daiva’s fellow villagers for mysteriously killing his father, and he wanted the villagers to sell their land to him. He requested Guruva (Shiva’s cousin brother, a man of repute and sanctity, whom the villagers worship as the performer of the Kola[1] dance) to convince the villagers of the same. On refusal, Guruva was murdered. Having learnt about Guruva’s death, Shiva meets Devendra, who lies about Murali being Guruva’s killer. Devendra and his henchman attack the village where an intense battle ensues. Shiva gets seriously injured and dies, whereas Guliga Daiva possesses him and decapitates Devendra and his henchman. Post this, Shiva performs Bhoota Kola, where he again gets possessed by the Daiva and disappears into the forest forever just like his father.

Shiva: symbol of tribal assertion

Rishab Shetty‘s storytelling is unparalleled, and so is his portrayal of Shiva, a person who oscillates between irresponsibility and divinity. The protagonist Shiva in this film has been depicted as the most powerful character; playing multiple roles as irresponsible youth who enjoy most of the time with his friends having alcohol and killing the animals from the forest. On the other hand, Shiva is an assertive person, a fighter who is much more conscious and aware of the rights of his people, voicing against discrimination practised by the Zamindar and his associates against his community members, by entering the house of the Zamindar and eating across the same table, exclaiming that  ‘zamindar can enter the house of tribals than why cannot the tribals to the house of zamindar.’  However, such social distancing is presented as a taken-for-granted, mundane phenomenon in the village (which does not call for rebellion or remorse) but Shiva was the first to voice against it. Further, when the forest officer says that the forest is government property and tribals are using it without permission, Shiva revolted saying that the ‘government must take permission from villagers to enter here because the forest belongs to them and they were here for generations.’  In the last scene of the movie, Shiva bravely fought against the goons of the zamindar when they attack the villagers in order to encroach on the forest land. He fights till the end and becomes unconscious while fighting. However, village ‘deiva’ suddenly appear and blow air from its mouth and then Shiva got up with possession of ‘deiva’s spirit and kills the goons and save the villagers from the encroachment of land by the Zamindar. Similar to other dominant Indian cinemas, this movie also depicts a male protagonist as a saviour and protector which represent the innate nature of patriarchy. This movie celebrates male supremacy and masculinity through the character of Shiva.

Women Empowerment, Misogyny and Role Conflict

Being a marginalized community, the tribals were far away from education which kept them ignorant for a long. In the Kantara movie, it showed that except for ‘Leela’, the majority of the villagers are illiterate. ‘Leela’ is an educated girl who aspires to join government services instead of joining the traditional occupation of her community. She succeeded by clearing the forest guard examination and joined the forest office of her village (through the Zamindar’s influence over posting) after completing her training. After, joining duty her role was jeopardized, by opposing role expectations. The forest department was against the villagers and it instructed her to follow the government order of land eviction. On the other hand, her family, villagers, and her beloved Shiva were not in favour of her job; knowing that she has been used against the villagers in supposed matters of land encroachment. They instructed her to leave the job. This situation puts her in a role conflict, whether to continue her job for which she has worked hard or to support the villagers. On many occasions, women have to sacrifice and are expected to compromise their position in such a patriarchal society. However, here it shows that Leela did not compromise. She was headstrong and balanced her duty with the community.  This shows her courage, self-determination and right to choose her own life, projected as a good example of women empowerment.  When the zamindar’s henchmen attacked the villagers, Leela being aware of her rights and obligations, first showed her assertion by throwing an iron bar aiming at the zamindar. The majority of female characters in the movie enjoy subordinated positions compared with the male characters, whereas the character of ‘Leela’ has been an exceptional one showing education and economic independence as an essential means of women’s empowerment. However, Leela has been projected as performing both household chores and her job which is a predominant picture of the majority of employed women vested with dual responsibility.  

Narrative of Land Encroachment

Land and forest have immense value in tribal’s life which is attached to their livelihood, culture, religion and identity. Several battles have been fought; lives have been sacrificed to capture the land. In human history, ownership of land was contested by kings and their subjects; while presently the state and capitalists emerged as key competitors in this domain. ‘Kantara’ has brilliantly manifested the subject of land encroachment using historical narrative. Here, we found three narratives of land encroachment: 1) the Narrative of land encroachment by Zamindar, 2) the Narrative of Land encroachment by tribals and 3) the Narrative of Land encroachment by forest officers/state actors. In this section, we have discussed how these narratives have established dialogue with each other through the idea of land acquisition.  The zamindar’s perspective suggests that the land belongs to him because it was owned by his ancestor who was a king and gave the land to the tribals being fooled in the name of ‘Deiva’. Therefore, he leaves no stone unturned to get back his land. He wanted to establish his ownership of inheritance by preparing documents of his legal heir at the same time getting the consent of villagers to sign the documents (through gullible means). The second narrative is of the state, represented by forest officers. It shows that land and forest belong to the government and villagers have forcibly captured it without permission of the government. The state’s perspective suggests that the state wanted to declare the region as a reserved forest by using its authority and rule of law. This step renders the zamindar’s legal inheritance documents null and void, simultaneously conferring the tribals as criminal tribals who exploit forest resources and hunt wildlife in the name of survival. Several scenes depict the geographical region as unique and call for a sophisticated approach for the ‘sensitive region’. However, power has no grounds for sensitiveness and sophistication.  The third perspective is of the people, who consider themselves as real inhabitants of the forest, real occupants of the region, and who shared ancestral history, religion, culture, and memory with the forest. Therefore, the inhabitants consider the ‘state’ and ‘zamindar’ as outsiders and refute all other narratives. This suggests that the state has entered their territory without taking the permission of villagers. The tribal perspective focuses on the tribal autonomy over land and forest resources whereas the state claims to assert and establish its rule of law. The concluding scene of the movie depicted too is very interesting and leads us to develop a perspective of harmony and cooperation from the different stakeholders. It shows that after killing Zamindar and his goons, the villagers celebrate the Kola festival where ‘Daiva’ possessed Shiva and invite the villagers, and forest officers to hold their hands together on his chest; by giving the message of cooperation and integration. The movie develops this perspective that forests and mountains need to be protected along with animals and at the same time tribal/people who are living in those forests and their culture, religion, history and memories also need to be protected. Therefore, this demands understanding, cooperation, commitment and solidarity from all the stakeholders whether it is the state, the tribals or anybody else.     

Conclusion

Kantara has shown what life in remote hamlets of tribal areas is all about – the humdrum of their everyday life, their rituals, their drinking habits, their food, their simple living and finally, their belief in the tradition and reverence for their Gods.  There is also the way of life of the tribals in their hunting, their forestry produce, and their land – which the government believes has been encroached upon. Religion and religious festivals have great essence in the life of tribals. Tribal religion is associated with land, forest and nature. The Kola festival is a depiction of such a picture of coexistence of people, nature and mythical objects. The Kola festivals appear as a site of solidarity and togetherness among the villagers. Overall, these themes have been woven like a fine tapestry of music, dance and drama. Kantara takes folks back to their roots, traditions, and rich and varied culture. This movie resonates amongst the viewers as a cultural renaissance. The movie provides a perspective of cooperation and solidarity among all the stakeholders to tackle issues related to forests. It makes us think about development and empowerment beyond displacement, deforestation and absorption.

Acknowledgment

I would like to thank the co-author of this review Ms. Kanchan Biswas, Ph.D Research Scholar, Centre for the Study of Social Systems, School of Social Sciences, Jawaharlal Nehru University, New Delhi- 110067.

A brief version of the film review has also been published in an academic student blog at  https://doingsociology.org

[1] Kola (also referred to as Daiva Kola or Néma) is an animist form of Spirit worship from the coastal districts of Tulu Nadu and some parts of Malénadu of Karnataka and Kasargod in Northern Kerala, India. The dance is highly stylized and held in honor of the local deities worshiped by the Tulu-speaking population. (Source: https://en.wikipedia.org/wiki/Buta_Kola)

Breaking the Glass Ceiling: Empowering Women in the Korean Labor Market after COVID-19

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488 views

Jihyun Shim1 and Ju Kong2
1Professor, Department of HRD, SookMyung Women’s University, South Korea. Email: shimx013@sm.ac.kr
2Data Scientist, Korea University, Korea. Corresponding Author

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.06
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Abstract

The COVID-19 pandemic has caused significant damage to women’s labor. This study analyzes the situation of the Korean labor market from various angles using available national statistical data. While the employment rate fell and the unemployment rate rose due to COVID-19, the unemployment rate among young people in their 20s and the elderly in their 50s and older rose. Gender segregation in occupations and industries, a chronic problem in the Korean labor market, has intensified and also increased the gender wage gap. It was found that the gender wage gap was large in jobs where many women were engaged. Overall, the number of non-regular workers increased in jobs where women were concentrated, and the number of employed people among vulnerable groups decreased. Online classes and telecommuting due to social distancing have increased women’s housework and childcare burden. As a result, the employment rate of working women with young children fell. In this situation, the mismatch between job seekers and job openings also intensified, showing that the social employment system was not working properly. COVID-19 has adversely affected women in the labor market in Korea, especially elderly women with low education levels and non-regular female workers. The damage caused by the 1997 and 2008 economic crises was also concentrated on women’s labor, yet Korean society did not learn from those experiences. Although many efforts have been made over the past 10 years to resolve discrimination in the labor market and prevailing gender norms in Korean society, their effect has been insignificant. This study emphasizes the need for a more detailed and active women’s labor policy. It also presents the need for a social system that properly responds to pandemic situations like COVID-19.
Keywords: women’s labor, the vulnerability of women’s work, economic crisis, the effect of COVID-19.

Article History: Submitted 15 Dec 2022, modified 01 June 2023, accepted 03 June 2023, first
published 06 June 2023

Breaking the Glass Ceiling: Empowering Women in the Korean Labor Market after COVID-19

The Influence of L1 in English Language Acquisition: A Case Study of ESL Learners at King Saud University

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677 views

Syed Sarwar Hussain
Associate Professor, Department of English Language and Translation, College of Languages and Translation, King Saud University, Saudi Arabia. Email: sayedshussain@yahoo.com

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.05
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Abstract

This study aims to analyze the important role First Language (FL) plays in Target Language (TL) acquisition. Researchers have repeatedly pointed to the need for Target Language (TL) teachers to maximize the use of TL while minimizing the use of L1. Teachers alternate between L1 and TL. Common Language Errors occur in the L1 transition to TL. These include over-extension of analogy, transfer of structure, and interlingual errors. The depth of these errors depends on the level of similarity between one language to the other. Once teachers understand that although acquiring TL is important, the use of L1 cannot be eliminated in classrooms, rather, it facilitates learning. This study aimed at investigating the reasons for using L1 in foreign language teaching and learning, as well as the positive benefits of L1. For the analysis purpose, survey data were collected from 54 King Saud University students using an open-ended questionnaire. The findings revealed that the proficiency of both TL and L1 was good and from the Chi-square test and the vocabulary-based questions, the perceived proficiency showed an association with an understanding of cognates. Also, the result revealed that there was no association between opinion on L1-TL interference and sentence structure-based difficulties at a 5% level of significance.

Keywords: First Language, Target Language, Language Transition, Language Errors.

Article History: Submitted 10 Dec 2022, modified 15 May 2023, accepted 30 May 2023, first
published 06 June 2023
The Influence of L1 in English Language Acquisition: A Case Study of ESL Learners at King Saud University

Scientific Discovery and the Scientist’s Gaze: Galileo’s Lunar Science and the Lacanian Theory of Art

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497 views

Hyun Sohn

College of Paideia, Sungkyul University, Republic of Korea. Email: hyksohn@sungkyul.ac.kr

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.04
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Abstract

One dominant explanation for Galileo’s telescopic discovery of the rough and uneven surface of the moon is that he was well-versed in painting techniques such as perspective and chiaroscuro, which emphasize a realistic representation of objects. This allowed him to grasp the appearance of the moon most accurately. This paper proposes a new interpretation of the relationship between science and art through the Galilean case, which highlights the creative process rather than realistic representation as they pertain to the beneficial role of art in advancing science. Tracing the trajectory of Galileo’s telescopic observation as described in Sidereus Nuncius, the author demonstrates that what Galileo saw were simply unidentifiable spots and that the discovery of the moon’s rough surface was an inference—the key factor being a self-distancing imagination that allowed him to see, at an imaginary distance, the homogeneous relationship of the moon and the earth to the sun. The author discusses how this self-distancing imagination, which involves re-establishing the relationship of objects through light, is uniquely connected to pictorial artistic sensibility, especially through the Lacanian theory of art. Finally, the author suggests that a love for numerous partial objects, rather than for truth, constitutes the real ethical foundation of a scientist.

Keywords: Galileo Galilei, the moon, science and art, Jacques Lacan, the gaze

Article History: Submitted 01 Feb 2023, modified 05 March 2023, accepted 10 March 2023, first
published 02 June 2023

Scientific Discovery and the Scientist’s Gaze: Galileo’s Lunar Science and the Lacanian Theory of Art

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Book Review: Victory City by Salman Rushdie

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Salman Rushdie, Victory City, India Hamish Hamilton, Feb/2023, p.352. INR 699. ISBN: 9780670098460

 

Reviewed by

Ajeesh A K

Faculty, Department of Humanities and Social Sciences, National Institute of Technology Warangal, India. Contact: ajeeshak9387@gmail.com

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.03
Full-Text PDF Issue Access

Victory City, the latest literary masterpiece by acclaimed author Salman Rushdie, is a compelling and thought-provoking work of fiction that delves into the complexities of identity, power, and the struggle between tradition and change. Set in a dynamic city in southern India, the novel presents a vivid and detailed exploration of the lives of several individuals as they navigate the tumultuous waters of a metropolis in transition. Through his exquisite prose and masterful storytelling, Rushdie creates a surreal and dreamlike setting that is both alluring and terrifying, capturing the essence of the miraculous and the everyday as two halves of the same whole.

The main protagonist, Pampa Kampana, is a miracle worker, prophetess, and poetess whose tragic loss of sight prompts her to declare that everything she wants is in her words, and that words are all she needs. This sentiment encapsulates the essence of the book, as Rushdie weaves together myth, memory, history, and imagination into a sensual and harmonious tapestry. His characters are complex and intriguing, each struggling to find their place in a world that is changing faster than they can keep up with. Through their experiences, Rushdie explores the power dynamics between social classes, as well as the struggles of the oppressed and disenfranchised.

One of the most striking features of Victory City is its use of magical realism. Rushdie employs this literary device to great effect, creating a dreamy and surreal world that is both enchanting and unsettling. The result is a setting that is at once familiar and strange, where the boundaries between reality and fantasy are blurred. This approach allows Rushdie to explore the themes of the book in a unique and creative way, inviting readers to question their own perceptions of the world around them. The writing in Victory City is both powerful and evocative, capturing the beauty and complexity of the world Rushdie has created. His prose is rich and poetic, weaving together vivid descriptions and imagery to create a tapestry that is both beautiful and haunting. The result is a novel that is both a pleasure to read and a potent exploration of some of the most pressing issues of our time.

The novel recounts the Jayaparajaya, an epic poem written by the 247-year-old prophetess Pampa Kampana, in detail. The dynamic Pampa Kampana, a wise woman, kingmaker, and storyteller who outlives many dynasties before becoming blind, is the protagonist of the book. After finally finishing her epic poem Jayaparajaya (Victory and Defeat) on the Bisnaga dynasty, she passed away at the age of 247, and the book starts with her passing. Before she passes away, she hides the manuscript in a clay pot “as a message to the future,” only for the unidentified narrator to find it 450 years later.

Nine-year-old Pampa had seen her mother Radha Kampana commit suicide with hundreds of other women after their kingdom had been destroyed by invaders and the king’s head had been sent to the Delhi sultan. The orphan girl is given supernatural abilities by the goddess Parvati while she is lost in the forest. She tells her that she will use these abilities “to make sure that no more women are burned in this manner, and that men start considering women in new ways, and you will live just long enough to witness both your success and failure, to see it all and tell its story, even though once you have finished telling it you will die immediately.”

The opening few pages set the stage for an amazing story. Pampa aids Hukka and Bukka in establishing the fictional Vijayanagara kingdom, an empire. When Pampa carefully selects her characters and gives them unique backstories, the city comes to life with women playing important roles in everything from warriors to palace guards to attorneys. Here, fiction and history are directly at odds with one another, with the author pointing out that tales have a deeper impact on how we live than do histories.

The novel offers a unique portrayal of the Bisnaga Empire, tracing its origins to the 14th century in southern India when the deity-inhabited Pampa Kampana grew it from enchanted seeds. Despite its utopian characteristics, the Bisnaga Empire is plagued by human folly, as depicted in the frequent wars and dynastic conflicts among its monarchs, the enduring custom of sati, and periods of theocratic persecution that force Pampa Kampana into exile.

Notably, the novel emphasizes Pampa Kampana’s role as a guardian angel, advocating for gender equality and religious tolerance, and promoting love and creativity as a countervailing force against the imperial death drive. Rushdie’s portrayal of Bisnaga as a land of harmony and cycles suggests the inevitability of extremes, followed by periods of religious syncretism.

The central theme of the novel is the tension between freedom and control, and the struggle to convince mortals that amity is superior to oppression, and magic is superior to faith. Rushdie’s writing style emphasizes the importance of literary devices and symbolism to convey complex themes and ideas, making the novel a powerful critique of human nature and the forces that shape society. Ultimately, “Victory City” presents a compelling vision of a utopian society, while acknowledging the persistent challenges that stand in the way of achieving it.

The novel incorporates a rich tapestry of literary techniques, including symbolism and imaginative writing, as well as historical, political, and cultural references. The book’s setting is based on the real-life kingdom of Vijayanagar, which existed in southern India from the 14th to 16th centuries and is now recognized as a UNESCO World Heritage Site under the name Hampi. The two brothers who founded the empire, Harihara and Bukka, are given the names Hukka and Bukka in the novel. The renowned Portuguese explorer Domingo Paes, who visited the Vijayanagara empire, is also mentioned in the book, but is referred to as Domingo Nunes instead. The novel’s use of this alternate name for the empire, Bisnaga, is derived from a mispronunciation of the word ‘Vijayanagara’ by Nunes.

The novel encompasses a wide range of perspectives and can be interpreted in various ways by its readers. Rushdie’s writing is adaptable, accommodating, and all-encompassing, allowing the novel to fit into the nooks and crannies of the reader’s perspectives. The work serves as a reminder of the conflicts between the plural, the pleasant, and the free and the fundamentalism, extremism, ignorance, and intolerance that oppose them.

The novel can be seen as a utopian future without patriarchy, one of peace, unity, and equality. Alternatively, it could also be a protest against historical oblivion and the erasure of the past or a critique of nationalism that attempts to whitewash history. It may be perceived as a celebration of storytelling as a divine profession and the power of words and memories, where Rushdie employs fiction to cure the multitude of its unreality, or it could simply be viewed as a genuine piece of art created for art’s sake.

While Rushdie has faced criticism in the past for undermining the history of female subjugation and exoticizing and fetishizing female characters and bodies in his earlier works, “Victory City” overtly emphasizes equality and freedom for women, serving as an attempt to sanitize his murky history with feminism.

Despite the political conflicts that have forced Rushdie into controversy, he has always championed the title of storyteller, “that modest spinner of yarns.” Victory City is undoubtedly a work of cheery fabulism that places a greater emphasis on “magic” than “realism.” Rushdie creates a cozy setting in which readers can conceive of a future that is better than their own. However, the novel’s themes and Rushdie’s writing style suggest a critical exploration of human nature and societal issues, urging readers to reflect on their own perspectives and beliefs.

In his earlier collection of essays, Languages of Truth (2021), Rushdie states that because “the realist tradition is doomed to a kind of endless repetitiveness,” authors “must turn to irrealism and find new ways of approaching the truth through lies”. Salman Rushdie’s advocacy for magical realism in his writing is a reflection of his belief that reality, as it is conventionally understood, is often too restrictive to fully capture the complexities of human experience. His literary career has been dedicated to exploring the boundaries of what is possible within the confines of traditional storytelling, using magical realism to create alternative worlds that are both familiar and fantastical.

While some may argue that the genre of magical realism has been exhausted, Rushdie’s work suggests otherwise. His use of magical realism has evolved over time, taking on different forms and serving different purposes. In novels like Midnight’s Children and The Satanic Verses, magical realism is used to create a sense of the surreal and to explore the cultural and political tensions of postcolonial India. In The Enchantress of Florence, Rushdie blends magical realism with historical fiction to create a vivid portrait of the Mughal Empire.

In Victory City, Rushdie employs magical realism to explore the nature of truth and the ways in which it can be manipulated and distorted. The novel’s convoluted histories and fantastical elements serve to highlight the subjective nature of truth and the power dynamics at play in society.

While the use of magical realism may no longer be as novel as it once was, Rushdie’s continued experimentation with the genre demonstrates that there is still much to be explored. As readers, we may have grown accustomed to the genre, but Rushdie’s work reminds us that there are always new ways to approach the complexities of human experience, and that magical realism remains a valuable tool in this pursuit.

It is also worth noting that the novelty of magical realism may be more apparent to readers in the West, who have been steeped in the tradition of realism for centuries. For readers in India and other cultures, where storytelling traditions have long incorporated elements of magic and fantasy, magical realism may not be as groundbreaking. Nonetheless, Rushdie’s work in this genre speaks to a universal desire to find new and innovative ways to explore the complexities of the human condition and offer insight into contemporary society’s and humanity’s potential for both progress and self-destruction.

Ajeesh A K is a Faculty, Department of Humanities and Social Sciences, National Institute of Technology Warangal, India. He received his master’s degree in English Language and Literature from Madras Christian College, Chennai, India in 2018 and is currently pursuing his doctoral degree from Vellore Institute of Technology, Vellore on transnational aesthetics. He is also employed as a faculty in the Department of Humanities and Social Sciences, National Institute of Technology, Warangal, India, where he handles diverse courses such as Media and Language, Creative and Critical Thinking skills, Communicative English and Research writing and professional ethics. His research interests include domains such as hyperreality, posthuman studies and gender and identity studies.

Understanding the Urhobo Tonal Structure through Constraint-Based Framework

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606 views

Don Chukwuemeka Utulu1, Emuobonuvie Maria Ajiboye2, Irene Eloho Edojaimoni3

1Senior Lecturer, Department of Linguistics, Faculty of Arts, Delta State University, Abraka. ORCID: 0000-0002-4908-1839. Email: dcutulu@delsu.edu.ng  

2Lecturer, Department of Linguistics, Faculty of Arts, Delta State University, Abraka. ORCID: 0000-0003-0254-1532. Email: ajiboye@delsu.edu.ng

3Graduate Assistant, Department of Linguistics, Faculty of Arts, Delta State University, Abraka. Email: edojaimoni@delsu.edu.ng

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.02
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Abstract 

Urhobo is a southwest Edoid language spoken in southern Nigeria. Its tonal patterns have been studied, but from a descriptive perspective, which, from a theoretical standpoint, potentially limits the understanding that tonal deviations from underlying forms are essentially due to resolutions of conflicts between some competing constraints. This study adopts the Optimality Theory (OT) to reveal the competing universal constraints: IDENT-T, MAX-T; NoFUSION; LINEARITY; DISASSOC; ALIGN-R CONTOUR; OCP; SPECIFY-T; *FLOAT; and NoCONTOUR. The study shows that these constraints crucially govern the Urhobo tonal patterns such as (i) downstep; (ii) single multiply-linked high (H) tone; (iii) single multiply-linked low (L) tone; (iv) boundary H.H and L.L tones fusion; (v); H-tone preservation; (vi) LH-tone preservation; (vii) floating H tone; and, (viii) final HL contour tone. Moreover, it highlights two Urhobo -specific tonal alternations listed in (v) and (vi), which exhibit preservation of H and LH tones at the expense of L tone, post-lexically. Consequently, it proposes four markedness constraints NoH.L-T, NoL.H-T, NoH.LH-T, and NoL. to explain the preservation effects. Our findings support phonologists’ view that, cross-linguistically, universal (and language-specific) constraints are those that motivate tonal deviations from input forms in tone languages, and that minimally marked tonal outputs are the result of markedness dominance over faithfulness.

Keywords: Downstep, Fusion, H-tone preservation, OT constraints, Urhobo

Article History: Submitted 11 Nov 2022, modified 27 May 2023, accepted 28 May 2023, first
published 01 June 2023

Acanthus and Mughal Architecture: Western Influence on Wazir Khan Ornamentation

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465 views

Fatima Zahra1 & Safrizal Shahir2
1School of the Arts, Universiti Sains Malaysia: Malaysia. Email: fzahra@student.usm.my (Corresponding Author)
2Faculty of School of the Arts, Universiti Sains Malaysia: Malaysia. Email: safrizal@usm.my

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.01 
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Abstract

The widely recognised historical ornament acanthus was used in South Asia, Southeast Asia, Europe, and other ancient civilisations. Historic civilisations frequently employed symbols and ornaments in their architecture to represent a specific subject matter or the aesthetic value or aspect of the ornamental elements for aesthetic and conceptual purposes. However, this study aims to explore the Western influence of acanthus on the architecture of the Mughal era, especially the Wazir Khan Mosque. Moreover, it also explores the voyage of acanthus ornament from the Italian Renaissance to South Asia. It uses a descriptive qualitative method to assess that the acanthus, a European ornament, was used as an architectural ornament or a decorative theme throughout Mughals architecture. Findings reveal that the acanthus travelled from Europe to South Asia as a result of aesthetic and artistic trade and developed and evolved during the Mughals.

Keywords: Acanthus Ornament, Mughal Architecture, Western Influence, Architectural Ornamentation, European Ornament

Article History: Submitted 12 Dec 2022, modified 27 May 2023, accepted 28 May 2023, first
published 01 June 2023

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Let the child take the lead: Intervention for enriching parent-child interactions during shared book reading

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Divya Shantha Kumari Adinarayanan1, Shanthi Nambi2, Raman Krishnan3 and Rajagopalan Vijayaraghavan4

1Department of Speech, Language, and Hearing Sciences, Saveetha Medical College and Hospital, Chennai. Email: shanthakumaridivya@gmail.com

2 Department of Psychiatry, Saveetha Medical College and Hospital, Chennai. Email: shanthi.nambi@gmail.com

3Department of Psychiatry, Saveetha Medical College and Hospital, Chennai. Email: dr_ramkrish@yahoo.com

4Department of Research and Development, Saveetha Institute of Medical and Technical Science. Email: jai_vijay@hotmail.com

Rupkatha Journal, Vol. 15, Issue 1, April-May, 2023. https://doi.org/10.21659/rupkatha.v15n1.11
Full-Text PDF Issue Access

Abstract

Shared book reading (SBR) emphasizes dialogue interaction between parents and children during book sharing, as engaging children in conversations during SBR can facilitate language skill development. This time-series study investigated the effect of SBR intervention on the interactional behaviors of parents and children (N = 210 dyads) and children’s expressive language skill development. The parents in the experimental group received a five-week SBR online training. Parents in both the treatment and control groups audio-recorded reading storybooks with their children at baseline (pre-test), post-intervention (post-test 1), and follow-up stages (post-test 2). Response length, number of conversation turns, and children’s expressive language ability were measured. Subsequently, the performance of the experimental and control groups was compared. The findings showed that parents in the experimental group were more responsive, offering significantly longer responses and more conversational turns than the control group. Additionally, children in the experimental group exhibited significantly greater expressive language skills. These findings suggest that the intervention can enhance parents’ ability to facilitate conversations during SBR and improve children’s expressive language skills.

Keywords: Parent-child interaction, shared book reading, linguistic input, language environment, language development, intervention 

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