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Neoliberal Cricketing Subjects in Contemporary India: The State-Market Dichotomy in Two Cricket Movies

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329 views

Rakesh Ramamoorthy

Assistant Professor, Department of English, Mar Ivanios College (Autonomous), Kerala, India. Email:  rakeshmoorthy@gmail.com, https://orcid.org/0000-0002-2355-1054

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.41  

 Abstract

This essay examines the ways in which two popular cricket movies from India — the Hindi movie Iqbal (2005) and the Tamil movie Jeeva (2014) — validate the tenets of “roll-back neoliberalism”  (Peck and Tickell 2002), an ideology that calls for the withdrawal of State-regulatedwelfare mechanisms in favour of free market capitalism. The protagonists of these movies are talented cricketers from underprivileged backgrounds, and they are excluded from regional and national teams by corrupt cricket board officials. This essay critiques a common story arc that these narratives share: the protagonists are quintessentially neoliberal entrepreneurial subjects who overcome the marginalization through adept exploitation of commercial potential of the sport. The argument is that the discursive delegitimization of State intervention in cricket, and the concomitant framing of the free market as a progressive and inclusive entity, are disempowering for the cricketing public. While a State-regulated sporting culture does have its exclusionary aspects, this essay contends, contrapuntally, that the neoliberal validation of the free-market rationale can be problematic in that it absolves the State of the responsibility of fostering an inclusive cricketing culture. This study thus offers a contingent and strategic endorsement of the Indian State’s intervention in the nation‘s cricketing cultures.

Keywords: Indian cricketing nationalisms, neoliberalism, caste and cricket, Iqbal, Jeeva

Optical Versus Cognitive Perspective: Study of Indian Folk Paintings

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307 views

Sunil Lohar

Ph.D. Scholar and Lecturer at Centre For Exact Humanities, International Institute of Information Technology, Hyderabad, India. Email: sunil.lohar@research.iiit.ac.in, sunil.iiith@gmail.com. ORCID id: 0000-0003-3972-7728

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.40  

Abstract

Is painting space fundamentally perspectival? In the European Renaissance (14th to the 17th century), the painting space was thought of as having an interior of perspective where one could place an object. It took many years after the Renaissance for European art to come out of this optical or geometrical perspective and realise that the space of painting is fundamentally non-perspectival. Historically in Europe, impressionists (1860) painters are the ones who tried to break away from this optical or single-point perspective and create paintings according to ‘lived perspective’. Optical perspective is one of the visual dogmas which are believed till today; thus, it is tough to appreciate non-perspectival paintings. This paper aims to give technical reasons why painting space is fundamentally not perspectival; the first section of the paper will deal with the question ‘what kind of space is painting space?’, and in the second section, we will compare method of photograph and drawing to find the differences between mechanism of camera and human perception . In the last section of the paper we will use Indian folk paintings, to demonstrate how cognitive or alternative/multiple perspectives open new possibilities in painting space.

Keywords: Perspective, Optical, Cognitive, Space, Imagination, folk, Shape and Stroke.

Decoding the Impact of the Srirama Panchali on Baranagar Temples Facades: The Driving Force behind Terracotta Artisans’ Narrativization of Ramayana Events

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352 views

Dr. Bikas Karmakar

Assistant Professor, Government College of Art & Craft Calcutta. Email: bikaskarmakar@gmail.com, https://orcid.org/0000-0001-7045-8744

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.39 

Abstract

Valmiki Ramayana is one of the most popular, universally read, and widely circulated literary works. The poets of different languages in India ornamented Valmiki’s Sanskrit Ramayana with the vibrancy of their own indigenous languages and cultures. A significant number of such versions trace their roots to Bengal. The epic was first translated into the Bengali language by the great poet Krittibas Ojha. Its influences and popularity have been such as to justify it being called the Bible of the people of Bengal. Its intense undiminished popularity among the populace has also left an indelible impression on the artisans of Bengal and their creations in different eras. The study primarily aims to investigate the Ramayana narratives that have been found on the facades of the temples of Baranagar in Murshidabad, West Bengal, India. The intention is to trace the impact of Krittibas’s Srirama Panchali on the portrayals of the Ramayana episodes. The formal method of Art History has been employed to provide an in-depth description of the formal elements that have been incorporated by the artisans. Besides, a detailed critical inspection of the concerned portrayals has been complemented with literary references to get a lucid understanding of the intended issues.

Keywords: Valmiki’s Ramayana, Krittibas’s Srirama Panchali, narrative art, terracotta temple’s facade, Baranagar, Murshidabad

Creative Vision and Creative Arts: Significations and Metaphors of Keys in Alex Idoko’s Symbolist Arts

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326 views

Ekenechukwu A. Anikpe1, Ndubuisi Nnanna2, Adebowale O. Adeogun3 & Emeka Aniago4

1 Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

2Lecturer, Dept. of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

3Senior Lecturer, Music, University of Nigeria, Nsukka, Nigeria

4Senior Lecturer, Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

ORCID: 0000-0003-3194-1463. Email: emekaaniago@gmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.38

Abstract

Artistic symbols in many ways act as complimentary narrative tools that elevate and define the message from the artist, which can help to generate efficacious consciousness and mood aggregation in the beholders. The purpose of this study is to deepen the appreciation of the embedded significances of keys as symbolic objects in selected symbolist art by Alex Idoko which represents variously, mystical attributions and significations as understood within different worldviews. Through the application of interpretive discuss approach in relating relevant concepts of symbolism, the study elucidates on the symbolical, mythological, mystical and metaphorical denotations and attributions of chains, padlock and keys in line with Victor Turner’s concept of operational, exegetical and positional meanings. In the end, we observe that the selected work by Idoko subsume deep and dense creative vision projecting deliberate effort in using art as a means of sharing cultural ideas, mystifying aesthetics, propelling curiosity, and mood/emotion intensity.

Keywords: Alex Idoko, art, Igbo, keys, metaphors, mystical, padlocks

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

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613 views

Sunanda Rani1 , Prof. Dong Jining2, Dhaneshwar Shah3

1PhD Scholar, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: sunandaartist@yahoo.co.in

2Professor, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: 1662917685@qq.com

3PhD Scholar, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: dhaneshwar005@yahoo.co.in

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.37

Abstract

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

 Keywords: Art, Feminism, Women, Gender, Embroidery, Textiles, Autobiographical Practice

Effect of Egyptian Culture on the Design of Jewelry (Cultural Design Based on Ancient Egyptian Patterns)

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578 views

Eman Ramadan 1, 2 and YuWu 1

1School of Art and Design, Wuhan University of Technology, Wuhan, China. E-mail: eman.salah@fsed.bu.edu.eg

2Department of art education, college of specific education, Benha university, Egypt. ORCID: 0000-0002-1567-7386. E-mail/ yuwu1981@gmail.com.

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.36

Abstract

We are now living in an era in which modern media and advanced technology, including satellites, satellite channels, and the information network, are intensifying, all of which are working to dissolve cultural subjectivity and remove popular legacies to replace them with Western cultural values ??and behavior patterns. Hence, the Egyptian researcher sees the necessity of reviving contemporary inspired, where every civilization in history has its own culture and pattern which always reflects civilization and expresses their lives and beliefs. Herein, we will mention about the ancient Egyptian civilization, in northeastern Africa that dates from the 4th millennium BCE. It has many achievements, which preserved in its art and monuments. It holds a fascination that continues to grow as archaeological finds expose its secrets. This article focuses on ancient Egyptian culture through the patterns of their beliefs, and how did these patterns affect the designs of the jewelry, and how we can benefit from these patterns in the creation of innovative designs. Here, we focused on the Egyptian pattern because of its great importance in ancient Egypt. Besides, its distinctive shapes enable us to create new modern designs for this era.

Keywords: Patterns, Egyptian culture, Cultural product, Jewelry design.

Educational Insights into Dyslexia

827 views

D. R. Rahul1 & R. Joseph Ponniah2

1 Research Scholar, National Institute of Technology, Tiruchirappalli.

ORCID: https://orcid.org/0000-0002-4215-1769. Email: rahuldrnitt@gmail.com

2 Professor, National Institute of Technology, Tiruchirappalli. ORCID: https://orcid.org/0000-0002-0618-6788. Email: joseph@nitt.edu

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.35

 Abstract

Dyslexia is a specific learning disorder characterized by difficulties in reading, writing, and spelling due to compromised phonological processing skills. Treatment of dyslexia solely with medical support is far-fetched. However, it can be surmounted by the combination of special education interventions and supportive psychosocial care. Suitable approaches coupled with beneficial learning strategies enable dyslexic learners with consummate linguistic achievement. Although dyslexia research offers an increased understanding from a biological standpoint, the knowledge gap on the educational front is unfortunately persistent. To this end, this paper revisits the teaching-learning aspects of dyslexia. Teaching principles and approaches, strategies to support learning, and personalized educational plans are discussed in detail. Acknowledging the difficulty, familiarizing with the approaches, and attaining successful outcomes via essential practices emphasize the inclusiveness of dyslexic learners in the curriculum. We contend that the educational insights into dyslexia will provide informed teaching and learning solutions.

Keywords: Dyslexia; Education; Teaching; Learning; Curriculum

Only ‘Time’ will ‘Tell’: Influence of temporality on the interpretation of narrative discourses

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346 views

Debmalya Biswas

PhD Research Scholar, Centre for Linguistics, Jawaharlal Nehru University. ORCID: 0000-0002-1543-6769. Email: debmal33_llh@jnu.ac.in, debmalyabiswas.professional@gmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.34

Abstract

The notion of language has been broadly understood in different ways with respect to existing literatures revolving around form, meaning, sound & context. Although overtly these understandings do try to integrate with the functionality of a complex organic system, they glaringly lack reference to the basis for its realization, i.e., time. Approaches to problematize the understanding of language have overlooked the issue of time. Temporality introduces a distinct fuzziness in qualitative and abstract expressions beyond just the action or the state. It is also evident in the context of names in a diachronic sense. A systematic exploration of this gap can lead us to a time-oriented understanding of the faculty of language.

Keywords: temporality, space, time indexation, interpretation, discourse, language, part-of-speech categories.

Towards an Epistemology of Reading: Defining the Process of Reading in Modern Terms

320 views

Arun D M

Research Scholar, Department of English, Pondicherry University, Puducherry. Assistant Professor, Department of English and Cultural Studies (BGR Campus), CHRIST (Deemed to be University), Bangalore, arundmclt@gmail.com, arun.dm@christuniversity.in, https://orcid.org/0000-0001-6398-3719.

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.33

 Abstract

The chaotic space caused by information explosion in present times has made the process and purpose of reading to be always questioned. Technological advancement has made reading appear as a mere mockery at the very outset. But the world still prioritizes knowledge that is acquired through observation, valuation and interpretation. At the time of Big Data, there still persists a sense of agency to define a given information as episteme. The present essay emphasizes on looking at reading as a modern phenomenon by presupposing the epistemological presence at the centre of any rational pursuit. Based on the Kantian precepts on enlightenment, the paper attempts to understand this presence of knowledge by delving into the major disciplines of modern philosophy that help in observing, valuing and interpreting the act of reading in present times. More than laying terms for defining the text within the modern space, the study essentializes reading in a virtually driven algorithmic world.

Keywords: Modernism, Enlightenment, Reading, Epistemology, Phenomenology, Hermeneutics, Ontology.

 

Silence, Satire and Empathy: Reading Appupen’s Topoi in His Wordless Graphic Narratives

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460 views

Kabita Mondal1, Joydeep Banerjee2

1Assistant Professor of English, Sarojini Naidu College for women, Kolkata 700028 & Research Scholar, Department of Humanities and Social Sciences, National Institute of Technology, Durgapur, 713209. Orcid Id: 0000-0001-9109-9891. E-mail: kabita.mondal@sncwgs.ac.in,

2Associate Professor of English, Department of Humanities and Social Sciences, National Institute of Technology, Durgapur, 713209. Orcid Id: 0000-0003-3319-4991. E-mail: joydeep.banerjee@hu.nitdgp.ac.in,

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.32

Abstract:

The projection of the incongruities of contemporary times through the frame of satire is a powerful instrument in the genre of comics and graphic narratives and in Indian graphic literature as well. Mendiburo-Seguel and Heintz (2020) explain eight Comic Style Markers (CSM) in Latin-American cultures, and satire, a “darker style”, is one of them. The paper aims to conceptualise how Appupen’s wordless graphic narratives Moonward: Stories from Halahala (2009), Legends of Halahala (2013), Aspyrus: A Dream of Halahala (2014) and The Snake and the Lotus: A Halahala Adventure (2018) register black satire against society, politics, religion, industrialization, consumerism, advertisement and so on and how they prove to play the role of “corrective humour” (Ruch and Heintz, 2016). This paper attempts to explore how the “author-artist’s” (Aldama, 2010) fantastical and dystopic graphic narratives, excoriate social and political issues to create a unique aesthetic of thoughtful critical writing in graphic mode, thereby collectively contributing to the interdisciplinary studies of fantasy and dystopia and helping to proliferate the genre of Indian Comics and graphic narratives as well. Moreover, as “satire had a moral goodness that was lacking in sarcasm and cynicism” (Ruch, Heintz, Platt, Wagner, and Proyer, 2018), this essay argues what kind of empathic feeling, perspective sharing and cognitive overlap Appupen cultivates in these four narratives and develops their moral, aesthetic and humane tenacity. The article discusses Appupen’s satire as a vehicle by which he prudently moulds empathy with the reader to convey the intrinsic values of the texts.

 

Keywords: silent, dystopic, graphic, fantasy, society, empathy, altruism.

 

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