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L.R. Duskaeva¹ & Yu.M. Konyaeva²

¹Doctor of Philology, Head of the Department of Speech Communication, St. Petersburg State University, St. Petersburg, Russia. ORCID id 0000-0002-9142-1980

²Candidate of Philology, senior lecturer of the Department of Speech Communication, St. Petersburg State University, St. Petersburg, Russia. Email: lrd2005@yandex.ru

Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.13

Received July 17, 2017; Revised November 24, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

The article is intended to substantiate the allocation of genre semantic-stylistic categories and to show sequentialization of the use of language means in a speech genre as a text-type. Genre category is understood as a hierarchical relationship of a composite-text technique and multi-level linguistic resources that transmit specific of the genre model meanings – communicativeness, reference, and illocution. The categories, which means form a speech genre, are the following: dialogism, illocutionary, and referentiality, which are, on the one hand, in the hierarchical relations and, on the other hand, in the relations of interaction and intersection. The means of expression of dialogism, reference and illocution can be represented in a functional-semantic field, including the micro fields, as these meanings variably appear in speech genres. We illustrate the categorical-linguistic analysis on the example of two information portrait speech genres, differing in illocutive directionalities of the message: presentation of a previously unknown person to the audience or a reminder of the well-known personality.

Keywords: myth, binary opposition, structuralism, dyadic structure, chaos, space, good, evil, antithesis, Anima, Animus, oxymoron, antonym, protagonist, antagonist, historical consciousness, artistic knowledge, poetics.

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Sagrolikar Kapil Irwantrao

PhD Scholar, the English and Foreign Languages University, Hyderabad. ORCID: 0000-0002-4375-2267. Email: kaps4litt@gmail.com

Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.12

Received July 17, 2017; Revised November 24, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

This paper unearths the way the late nineteenth and early twentieth century social reform movements and related contestations have endeavoured to (re)assert, (re)sanction and (re)claim male supremacy, male dominance on the one hand and on the other hand ventured to prolong Hindu women’s dependence, marginalization and the perennial subdued life. Women’s life, role and social status had been what Derrida calls, “under erasure”. On the one hand, it has been accepted to exist with equal honour, respect, right and dignity on par with the men in the society and at the same time their dependence on male, marginalization and secondary position has always been practised. Subsequently this play of acceptance and denial has helped patriarchy to persist women’s lifelong subdued status and role.

Keywords: quasi-emancipation, reform from within, assenting voices of dissent, women as site, white woman’s brown burden.

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Joydeep Bhattacharyya

Assistant Professor of English, Kurseong College, Darjeeling, India. orcid.org/0000-0002-0329-3756. Email: b_joydeep31@rediffmail.com

Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.11

Received October 30, 2017; Revised November 20, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

Indian theatre, after Independence, often engages with contentious issues, though squeamishness about communal realities, particularly the Hindu-Muslim relations and politics, seems to persist. Asghar Wajahat’s Unborn in Lahore and Salman Khurshid’s Sons of Babur are two examples where Indian theatre daringly questions the Islamised and the Hinduised characters of Pakistan and India respectively, confronting the communalised Hindu-Muslim identities and relations head-on. In the present study, it remains to be seen how the two plays interrogate the narrative of arch-rivalry between the two communities and, by extension, the two countries, whose present is always haunted by the spectre of past. The study aims to see how the ‘true’ history of communal rivalry has been reread by ‘false’ history in the plays; how the rereading rehistoricises the naturalised rivalry; and how the plays empower the suppressed voices of harmony, enriching a theatrical tradition of critique and plurality.

Keywords: Hindu, Muslim, India, Pakistan, partition, Indian theatre.

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Vladimir Meskin & Karina Galay

Peoples Friendship University of Russia (RUDN University), Miklukho-Maklaya str., 10/2, 117198 Moscow, Russia. Corresponding author: vlalmeskin@gmail.com

Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.10

Received September 20, 2017; Revised November 21, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

If one compares the works of Guy de Maupassant and Bunin I.A., he or she will find that these two writers are related by a subject matter. In particular, attention is drawn to the description of relationship between men and women. It is essential that Russian writer’s attitude toward the works of his French colleague-predecessor – a bright representative of European realism of the XIX century – changes as he develops in creativity. Textual analysis of similar (by plot) works of Maupassant and Bunin was carried out on the back of the experience of many writers, who have studied the legacy of both classics. Bunin is proved to be modernizing the realistic poetics and going a way of neo-realism – realism, enriched by the influence of modernism.

Keywords: Guy de Maupassant; Bunin I.A; realism; modernism; neo-realism; poetics; context; evolvement.

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Rajni Singh¹ & Reema Chakrabarti²  

¹Associate Professor, Department of Humanities and Social Sciences, IIT (ISM), Dhanbad. Orcid: 0000-0002-1569-8339. Email: rajnisingh18@gmail.com

²Junior Research Fellow, Department of Humanities and Social Sciences, IIT (ISM), Dhanbad. Email: chakrabarti.reema2012@gmail.com

    Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.08

Received July 04, 2017; Revised November 20, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

The paper aims to analyze the vampiric figure Dracula as portrayed in the television series by Cole Haddon to understand the nature of identity and the socio-political constructions and constrictions that constitute the self. An individual’s characteristics are often typecast by the projection of a ‘singular affiliation view’. Through the character of Dracula, an attempt will be made to demonstrate how ‘singular affiliation view’ can be deconstructed through ‘alternative identification’. In the process, it will also examine the agencies, such as knowledge, power, and relations that make Dracula a functioning individual who lives with the ambition to empower the self.

Keywords: Dracula; Alternate Identity; Knowledge/Power; Inter-relationships; Becoming Being.

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Ghiasuddin Alizadeh¹ & Shideh Ahmadzadeh²

¹ PhD candidate of English Literature, Shahid Beheshti University, Tehran, Iran

. Orcid.org/0000-0002-4119-2251.  Email: Ghiasuddin.alizadeh@gmail.com

² Professor of English Literature, Shahid Beheshti University, Tehran, Iran

   Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.07

Received August 21, 2017; Revised September 13, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

Romanticism is usually conceived as a return, from the corrupt political and social milieu, to the purity and innocence of Nature. Romantics, it is argued, aspired for liberty and freedom from the yoke of oppressive social institutions, and cherished the ‘fantasy’ of an ideal society built upon ‘true’ humane values. However, the ultimate failure of the French Revolution in realizing the romantic ideals of liberty, equality, and fraternity opened the eyes of some of the Romantic poets to the inherent antagonism, constitutive of human existence as such, namely, the impossibility of a return to a prelapsarian sense of innocence, of the prospect of building a society purged from taints of evil and ideological conflict. This research aims to read William Blake’s The Book of Thel as the poet’s critique of Romantic ideology and fantasy. Through a close analysis of the poem, informed by the ideas of Slavoj Žižek, this article tries to reveal Blake’s insight into the ontological perversity of human civilization and the relationship between the Romantic notions of innocence and experience.

Keywords: Romantic ideology; innocence; experience; fantasy; French Revolution.

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Niyi  Akingbe¹ & Emmanuel Adeniyi²

¹Professor, Department of English Studies, University of South Africa (UNISA), City of Tshwane, Pretoria, South Africa. Email: deniakingbe@yahoo.com

²Lecturer, Department of English and Literary Studies, Federal University Oye-Ekiti, Oye-Ekiti,Ekiti State, Nigeria. Email: ayomercy2011@gmail.com

 Volume 9, Number 4, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n4.05

Received October 15, 2017; Revised November 20, 2017; Accepted November 30, 2017; Published December 09, 2017.

Abstract

An examination of Chimamanda Ngozi Adichie’s Americanah reveals a mapping of exponential growth of obtrusive racial tension which leaves in its wakes prejudice, acrimony and hatred. The article argues that despite its dialogic engagement with the possibility of harmonizing the varied characters’ racial/cultural backgrounds, Adichie’s Americanah’s experimentation with transculturalism faded in a miasma of morbid biases and despair. This failure has a marked impact on the cultural downturn in the lives of African immigrants and other economic migrants from other parts of the world who are trapped in the social contradictions prevalent in America and England. Through concerted efforts, Adichie negotiated interracial harmony among her characters in Americanah; especially among ethnocentric characters cocooned in private world of hate, snobbishness and recherché referenced by the turbulent contemporary world. Invariably, Adichie as a transcultural writer is bounded by the need to illustrate issues which verge on individuals’ intolerance for people outside their ethno-cultural or socio-political backgrounds. Nevertheless, Americanah’s transcultural trope appreciates the fluidity of the present age: the confluence of global cultures, the mobility as well as nomadic nature of the 21st-century man and the need to engender a monolithic cultural outlook in a culturally polyvalent society. The paper concludes that transculturalism could only manifest in a globally differing society if the walls of ethnocentrism and racism insulating it collapse. Curiously, transculturalism in Americanah ostensibly failed due to the obtrusive racial intolerance exhibited by the varied characters who appear to have determined to cling to the divisive racial sentiments identified in their attitude.

Keywords: ‘reconfiguring others’, negotiating identity, Americanah, African immigrants, Chimamanda Ngozi Adichie.

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