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Artworks by Joydip Sengupta

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Joydip Sengupta is a Visual Artist based out of Kolkata. He had his education from Duncan of Jordanstone College of Art and Design, Scotland, UK, College of Art, New Delhi, India, Kala Bhavan, Santiniketan, West Bengal, India. While working with imagery he quite often finds himself combining organic forms along with structural elements to create contrast and to project the viewpoint of human expansion through the man-made and its implications on nature. He relies on a combination of accidents and chance encounters with form and imagery to build up the narration. A certain space triggers a certain response. This depends on the interplay of drawing, painted surface and abstract shapes that intermingle to create a sense of ambiguity. He is interested in creating mystery by tweaking reality where the familiar and the unfamiliar fuse to create a distinct realm that represents the world we live in and yet transcends it.

A few of his solo exhibitions are as follows:

  • 2019: “INTERFACE”, Artworld, Sarala’s Art Centre, Chennai
  • 2018: “CONUNDRUM”, Ganges Art Gallery, Kolkata
  • 2013: “Sensoria”, Artworld, Sarala’s Art Centre, Chennai
  • 2011: “Dialectica”, Ganges Art Gallery, Kolkata, India
  • 2008: “Elastic Dreams”, Pundole Art Gallery &Arushi Arts, Kitab Mahal, Mumbai, India
  • 2007: “Equinox Shift”, Gallery Bose Pacia, Kolkata, India

More information can be found at https://joydip.portfoliobox.net

Special Collection: Creativity in the Time of the Pandemic 2020>>

Artworks

Biomorph, 29.5 x 29.5, Acrylic on paper
Encounter, 36 x 24 inches,Acrylic on Canvas
Resonance, 54 x 54 inches, Acrylic on Canvas
The Claw, 36 x 30 inches, Acrylic on Canvas
The Following, 54 x 60, Acrylic on canvas, 2020

Published on May  04, 2020. © Artist

Poem by Angela Duggins

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Angela Duggins is currently a Ph.D. student at Southern Illinois University in Carbondale, Il, USA where she studies rural performance and the efficacy of persuasive performance. She holds two previous degrees in performance and communication: one from Harding University and another from East Tennessee State. Her original compositions have been performed on stage at festivals across the United States. Through performative and autoethnographic poems, she explores themes of access, oppression, and exoticization as they particularly apply to Ozark culture and performance depictions of Ozark culture. Her research has been presented at the annual conferences of the Association for Theatre in Higher Education, MidAmerica Theatre Conference, the Association for Scholarly Theatre Research, and the Denver University Women’s Conference. She currently serves as the junior cochair of the graduate student subcommittee for the Association of Theatre in Higher Education. She has a coauthored chapter in the forthcoming Handbook of Organizational Autoethnography.

Special Collection: Creativity in the Time of the Pandemic 2020>>

Before the World Stood Still

Before the world stood still, I did not exist.
I left my exoskeleton behind
when I ripped myself out of my home,
stumbled,
to climb the halls of green ivy.
I knew
that only when I ground my voice
down to its smoothest form,
bashed it against echoing cliffs,
would I get to speak for the shell of my memory.

I am Ozarker.
I am a child of the red clay.
I know which fish to fry.
I know which mushroom to eat.
I know which path to hike.
I know
the cold of a 5:00 a.m. gun
as dawn melts away.
I can provide when food cannot be bought.

I am wounded.
I know the feeling of a hand flat across my face.
“don’t tell anyone”
I know when to look away.
“Nobody gets to know our business”
Take a trash bag out to the dumpster and walk away.
Wait ten minutes.
It will walk away
Maybe it had something white in it.
maybe it had something green.
Maybe it was harmless.
“Maybe you need to mind your own business.”

I’m safe now
in a university town
with quaint little shops
and consent posters
and a script on my desk
that says
“my people are good
and they deserve to be heard”

But the world has stopped,
and there are people
watching the decay of the shell float by:
Winters Bone
Ozark.
They see the darkness.
They see the hand slam into my face,
the cigarette press into my leg.

I get a text
“Is that your life?”

And…
And…

“Yes”

But there is more.
There are sunsets
and red clay towers
and bonfires
and baby showers.

Before the world stood still,
I did not exist.
Now, I half exist,
And I don’t know which is worse.

Published on May  04, 2020. © Author.

Eco-psychology and The Role of Animals to Heal Trauma in Life of Pi

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Diren Ashok Khandhar1, Hardev Kaur Jujar Singh2, Rosli Talif3, Zainor Izat Zainal4

Universiti Putra Malaysia.

Corresponding author: ORCID: 0000-0002-0526-2435. Email diren.msa@gmail.com

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.14

 

Abstract

Psychological trauma brings about adverse effects on affected victims and the manifestations vary from an individual to another. Some of the more common traits identified in trauma victims include extreme anxiety, nightmares, hallucinations and flashbacks; in which there is no specific reference of time on when a victim may start to exhibit these characteristics. In addition, the mode and duration taken for recovery of psychological trauma may also differ depending on the severity of the initial trauma and assistance available to trauma victims for recovery to transpire. As such, this present article intends to study the varied manifestations of trauma in Yann Martel’s Life of Pi (2001) and to identify how trauma was negotiated through the human-animal relationship formed in the literary text. Besides employing concepts under Trauma theory, this article would also elucidate the concept of ecological unconscious under the lens of Eco-psychology to identify how the incorporation of nature, animals specifically, plays an integral part in the recovery process of a trauma victim.

Keywords: Animals, Eco-psychology, Recovery, Trauma.

 

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Bioterrorism & Biodefense: An Environmental and Public Health Preparedness

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Saira Gori1 & Anjani Singh Tomar2

1Gujarat National Law University. Email: sgori@gnlu.ac.in

2Associate Professor of Law, Gujarat National Law University, Gujarat

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.13

Abstract

Humans, plants and animals have always been susceptible to the threat of pathogenic microorganisms and their toxins which are present in the nature. Although these microorganisms occur naturally in the environment but they are unnaturally inflicted upon the society in the form of biological weapons. Bioterrorism is defined as the deliberate release of viruses, bacteria or other agents used to cause illness or death in people, and also in animals or plants. Biological weapons have often been referred to as the “poor man’s atomic bomb. Biological attacks are more likely to be covert. A covert attack is most disturbing because the event itself might be completely unnoticed until numerous victims fell ill and their common illness has been diagnosed. The spread of biological agent does not have an instantaneous effect because there is a delay between exposure and onset of the illness. Further, it is often very difficult for historians and microbiologists to differentiate natural epidemics from alleged biological attacks. The current concerns regarding the use of biological weapons result from the increasing number of countries that are engaged in the proliferation of such weapons and their acquisition by the terrorist organizations. The purpose of the present study is to analyse the growing threat of the bioterrorism in the world. It further entails to delineate the sub-sets of bioterrorism, which are agro-terrorism, environmental-terrorism. Further, the impact of bioterrorism on public health, environment is correctly spelled out. Major focus is also given on the current threat of bioterrorism on India and the legal framework which India possesses to counter such threat.

Keywords: Bioterrorism, public health, environment.

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An Obituary for Innocence: Revisiting the Trauma during the Khmer Rouge Years in Cambodia through Children’s Narratives

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Srestha Kar

PhD Research Scholar, Dept. of English,North Eastern Hill University, Shillong. ORCID: 0000-0003-4054-3213 Email: sreshtha.kar@gmail.com

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.12

Abstract

The totalitarian regime of the Khmer Rouge in Cambodia under the dictatorship of Pol Pot initiated a saga of brutal mass genocide that exterminated millions and completely upended the social and political machinery of the country with its repressive policies. One of the most atrocious aspects of the regime was the deployment of tens of thousands of children as child soldiers through the indoctrination of the ideologies of the state as well as through coercion and intimidation. This paper intends to study the impact of child soldiering on child psyche through an analysis of two texts- Luong Ung’s First They Killed My Father and Patricia McCormick’s Never Fall Down. The paper shall explore how militarization and authoritarian rule dismantles commonly held perceptions about childhood as a period of dependency and vulnerability, where instead, children become unwitting perpetrators of horrible crimes that ultimately triggers trauma and disillusionment. In its analysis of the texts, the paper shall attempt to use Hannah Arendt’s concept of the ‘banality of evil’ in the context of the child soldiers whose conformation to the propaganda of the Khmer Rouge lacked any ideological conviction.

Keywords: Cambodia, Khmer Rouge, child soldiers, trauma, banality of evil, children’s narratives, agency.

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Indian Women at Crossroads: a Tale of Conflict, Trauma and Survival

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Sanghamitra Choudhury1 & Shailendra Kumar2

1Department of Peace and Conflict Studies, Sikkim University, India. Email: schoudhuryassam@gmail.com

2Department of Management, Sikkim University, India

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.11

Abstract:

Armed conflict across and between communities results in massive levels of destruction to the people- physically, culturally, economically and psychologically. The genesis of most of the conflicts that has engulfed the north-eastern states of India is either to preserve the unique identity or due to lack of economic development and opportunities for the large majority of the people or both. Women as heterogeneous group of social actors are arguably more affected than their male counterparts in conflict situations. Armed conflict exacerbates inequalities in gender relations that already exist in society. In an ethnically divided society in Assam, women bodies are generally used as ‘ethnic markers’ thereby have more specific manifestations. The paper aims to analyze the multiple roles that women are subjected to and play in armed conflict in the state of Assam. The paper is going to highlight that woman in NE India with a special reference to Assam cannot be categorized just as ‘victims’ of conflict. Even when they are victims; they exercise their agency and survival techniques despite adverse conditions. Beyond judicial measures, how women grapple with the problem of the ‘truths’ of the past in post conflict scenario will also be highlighted.

Keywords: Armed conflict, Assam, Ethnicity, Northeast India, Trauma.

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Analyzing Indira Parthasarathy’s High Noon in Light of G.H. Mead’s Theory of Self and Society

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Jesintha Princy.J1 & Sarika Gupta2

1Research Scholar, School of Social Science and Languages,VIT. ORCID: 0000-0001-7304-5726. Email:  jesinthaprincy@gmail.com

2Associate Professor, School of Social Science and Languages,VIT. Email: tyagisarika27@gmail.com.

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.10

 Abstract

The concept of self is the individual’s configuration of beliefs and opinions that have the primary association to his/her own behavior, “especially those ideas considered most central and enduring in the individual’s behavior” (Pasricha, 206). This organization of one’s own thoughts and beliefs relatively provides a continual experience in different social situations. The exchange, evolution, participation in the social process organizes the behavior of the individual that results in the emergence of a better self. George Herbert Mead’s analysis of self and society emphasizes that the existence of self without the experience in the social process is absolutely impossible. Indira Parthasarathy’s penmanship is often a social criticism that is embellished with an individual’s participation and response to the social setting. Analyzing the novella High Noon through the viewpoint of Mead’s theory of self and society, the process of emergence of self in the individual makes our understanding of the issues better. The development and emergence of self of the two main characters Ambi and Vembu Ayyar are observed through their reflexes in the social process they are involved in.

Keywords: self, society, social setting, behavior, socio-psychology, development, emergence.

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The Natyashastra-based analysis of Mahesh Dattani’s Where Did I Leave My Purdah

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Mrunal Chavda

Assistant Professor, Institute of Language Studies and Applied Social Sciences. ORCID:  0000-0002-3817-4124. Email: mrunalchavdaiima@gmail.com,

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.09

 Abstract

This article uses the Natyashastra, an Indian treatise on performing arts, to develop an overlooked method of theatrical analysis. This treatise offers useful insights on how gestures are produced during the performance, which has been practiced by performers across the world. While scholars research the Natyashastra in the contexts such as theatre, rasa theory, and its bodymind connection, this treatise has been employed to analyze gestures produced by contemporary Indian theatre performers in Mahesh Dattani’s Where Did I Leave My Purdah. The outlined exercise through an examination of a case study advocates a method of theatrical analysis.

Keywords: production analysis, Mahesh Dattani, Indian theatre in English, Natyashastra.

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Carnivalesque and its All-Pervasive Influence in Caryl Churchill’s Cloud Nine

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Hassan Abootalebi & Alireza Kargar

PhD student of  English Language and Literature, Kharazmi University, Tehran, Iran. Email: abootalebi2010@gmail.com

M.A in English Language and Literature, Lorestan University, Khorramabad, Iran. Email: alirezakargar1984@gmail.com

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.08

 Abstract

The current paper is an attempt to scrutinize and shed some light on Caryl Churchill’s play Cloud Nine (1979) with the application of Mikhail Bakhtin’s theories of carnival and carnivalesque explicated in his celebrated book Rabelais and His World (1984) which presupposes a world in which the flouting of, and challenging authority along with disrespect for, and disregard of, what is deemed sacred and valued are vital and instrumental, where individuals are liberated from any restrictions imposed on them outside carnival, and are permitted to pursue what pleases them without the least fear of being castigated, oppressed or interrupted by authorities. The selected work, as argued in the subsequent sections of the present article, presents a world where authority and social constructs as well as  conventions are all undermined and mocked. What is thought of as truth is, therefore, mocked, and the characters are no longer restricted by imposed rules and regulations. It, however, celebrates the subversion and calling into question of gender roles and demonstrates how restrictive and oppressive these roles can be, and what it is like when one is not circumscribed by societal constructions and expectations, and is given the opportunity to enjoy themselves in an unlimited way. In the first act, everyone stands in an already pre-defined position, as expected by the authorities, where no transgression is tenable, and no one seems inclined to go beyond them. The second act, however, is set in London in 1979 and women are no longer restrained by rules, and the characters as a result grow. In what follows, the words carnival and carnivalesque will be first fully defined and elaborated on, and then applied to Caryl Churchill’s Cloud Nine to illustrate the above-mentioned claim.

Keywords: Mikhail Bakhtin, carnival, carnivalesque, Caryl Churchill, Cloud Nine

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Women and Cultural Transformation: The Politics of Representation in the Novels of Bankimchandra Chattopadhyay

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Sudip Roy Choudhury

Ph.D Research Scholar, Raiganj University, West Bengal, India. Orcid: 0000-0003-4833-7975. Email id: sudiproychoudhury60@gmail.com

 Volume 12, Number 2, April-June, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n2.07

 Abstract

This paper begins by arguing that Bankimchandra, a pioneering novelist and nationalist thinker of India, sought to contain the nineteenth century ‘woman question’ within his nationalist project of ‘cultural transformation’. But this nationalist ideal is based on a gendered differentiation of the nation-culture into spiritual and material which has a far reaching implication in terms of his novelistic re-presentation of the nineteenth century ‘woman question’ and the ‘hierarchical inclusion’ of women in the political space of the nation. Hence, by contextualizing the works of Bankimchandra in a time of colonial encounter the present paper aims to bring out the complexities and paradoxes inherent in Bankimchandra’s formation of the strategy of re-presentation of women and reform in several of his novels.

Keywords: Colonial encounter, cultural transformation, nationalist consciousness, gender, social reform.

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