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The Politics of Gendered Spatializations: A Study of Cityscapes in Manu Joseph’s Novels

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374 views

Parvathi M.S.

Research Scholar, Department of English Literature, The English and Foreign Languages University, Hyderabad, E-mail: msparvathi1994@gmail.com, ORCID id: 0000-0002-9191-5999

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n4

Abstract

Burton Pike (1981) terms the cityscapes represented in literature as word-cities whose depiction captures the spatial significance evoked by the city-image and simultaneously, articulates the social psychology of its inhabitants (pp. 243). This intertwining of the social and the spatial animates the concept of spatiality, which informs the positionality of urban subjects, (be it the verticality of the city or the horizonality of the landscape) and determines their standpoint (Keith and Pile, 1993). The spatial politics underlying cityscapes, thus, determine the modes of social production of sexed corporeality. In turn, the body as a cultural product modifies and reinscribes the urban landscape according to its changing demographic needs. The dialectic relationship between the city and the bodies embedded in them orient familial, social, and sexual relations and inform the discursive practices underlying the division of urban spaces into public and private domains. The geographical and social positioning of the bodies within the paradigm of the public/private binary regulates the process of individuation of the bodies into subjects. The distinction between the public and the private is deeply rooted in spatial practices that isolate a private sphere of domestic, embodied activity from the putatively disembodied political, public sphere. Historically, women have been treated as private and embodied and the politics of the demarcated spaces are employed to control and limit women’s mobility. This gendered politics underlying the situating practices apropos public and private spaces inform the representations of space in literary texts. Manu Joseph’s novels, Serious Men (2010) and The Illicit Happiness of Other People (2012), are situated in the word-cities of Mumbai and Chennai respectively whose urban spaces are structured by such spatial practices underlying the politics of location. The paper attempts to problematize the nature of gendered spatializations informing the location of characters in Serious Men and The Illicit Happiness of Other People.

 Keywords: spatiality, space, gender, positionality, representations of space, public/private binary, spatialization, location, cityscapes

Mahesh Dattani’s Dance Like a Man: A Depiction of the Trials and Tribulations of an Androgynous Personality

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512 views

Chhavi1 & Rajiv Bhushan2

 1National Institute of Technology Jamshedpur, Hostel- b NIT Jamshedpur – 831014, choudharychhavi06@gmail.com, 0000-0002-2044-0172

2National Institute of Technology Jamshedpur, Associate Professor Department of HSSM Jamshedpur – 831014 India, rbhushan.hum@nitjsr.ac.in, 0000-0002-3646-2181

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n2

Abstract

Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.

Keywords: Androgyny, Creativity, Exclusion, Hegemonic masculinity, Patriarchal norms.

Redefined Families and Subsystems: Reading Kinship and Hierarchical Structures in Select Hijra Autobiographies

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427 views

Tanupriya

Assistant Professor, Department of Languages, School of Social Sciences and Humanities, Christ (Deemed to be University), Delhi NCR, E-mail: tanupriya@christuniversity.in

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n1

Abstract

Hijras or transwomen in India are gendered identities, but their identities cannot be reduced to the conceptual framework and analysis of ‘sex’, ‘gender’ and ‘sexuality’. Being the minority in India, transgender lives intersect with caste, class, kinship and hierarchy. The study locates these intersections within the scope of the select hijra autobiographies; The Truth About Me: A Hijra Life Story by A. Revathi and I am Vidya by Vidya. The study looks at the notions of ‘family’ which are traditionally woven in heteronormative and patriarchal setups. It examines the gharanas system or subsystems in hijra communities that redefines the structures and hierarchies of the family, and designating the fellow elder hijras with the relation of mata (mother) and cela (disciple), thus forming a kinship which is located beyond the caste, class and religious structures. The emphasis is to study how families are inserted in heteronormative perspectives and argues a redefining of the notion of ‘family’,and to establish and recognize the newer perspectives on ‘family’ which lies outside the traditional setup.

Keywords: Caste, Class, Family, Subsystems

Tragedy and Ecophobia: A Study of William Shakespeare’s Macbeth and J.M. Synge’s Riders to the Sea

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424 views

Thakurdas Jana

State Aided College Teacher-I, Department of English, Bhatter College, Dantan, E-mail: thakurdas0901@gmail.com

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s10n7

 Abstract

Terry Eagleton’s humorous question of “how a tragedy differs from a congress of global warming” echoes the tragic and traumatic life of human beings facing increasing violence of nature. In a tragedy, the protagonist does not have biophilia as conceptualized by Edward O. Wilson to explain the innate tendency of human beings to find connections with nature and other forms of life, rather experience with themselves of an ecophobia, ‘antipathy towards nature’ as defined by Simon C. Estok. In a tragedy, “the unfathomable agencies of Nature”, to Eagleton, create ecophobia among the characters of tragedies written in most of the periods of literature. It is experienced in a Renaissance tragedy Macbeth by the Bard of Avon with the appearance of ‘nature’s mischief’ as well as in a modern tragedy Riders to the Sea by J.M. Synge with the destructive sea devouring Maurya’s five sons, husband, and husband’s father creating an antipathy towards nature as shown in Macbeth’s fear of the ‘unruly’ and ‘rough’ night and the ambiguous movement of the Brinamwood, and Maurya’s desperate request to resist Bartley to travel by sea to the Galway fair. Their ecophobia has created an unhinged personality among them. With all these perspectives this paper aims to re-establish a connection between ecophobia and tragedy and examine how ecophobia has been internalized among the characters of the aforementioned play.

 Keywords: ecophobia, biophilia, tragedy, Macbeth, Shakespeare, Riders to the Sea, J.M.Synge

Climate Change in India: A Wakeup Call from Bollywood

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811 views

Manvi Sharma1 & Ajay K. Chaubey2

1Research Scholar(English, National Institute of Technology, Uttarakhand, E-mail- manvi.sharma4779@gmail.com, ORCID ID 0000-0003-2708-4403

2Assistant Professor-I (English, National Institute of Technology Uttarakhand, E-mail- kcajay79@nituk.ac.in, ORCID ID 0000-0002-6413-798

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s10n2

Abstract

Amidst Bollywood’s romanticized landscapes and grandeur settings, depiction of the flora and fauna, roaring rivers and drought prone lands, is difficult to locate. But the new millennium has witnessed some new generation filmmakers, sensitized towards the ecological concerns, thus marking a shift from the illustration of idealised landscapes to the representation of nature’s wrath. Since, cinema in India, has a deep-rooted impact on the masses, these creators employ films as tools to sensitize the population towards the climate change threat which though as perilous as the COVID-19 crisis, is often ignored by a significant amount of population. Dawning upon themselves the responsibility of environmental awakening, Nila Madhab Panda and Abhishek Kapoor highlight in their movies, Kadvi Hawa(2017) and Kedarnath(2018), respectively, the horrors of human callousness, leading to drastic change in Climatic condition in India. Panda’s Kadavi Hawa, dealing with non-repayment of loans followed by suicides, portrays the heart-wrenching imagery of environmental degradation and Climate change that has rendered the Village of Mahua, arid and infertile. Kapoor’s Kedarnath on the other hand, appeals for action through horrifying imagery of the catastrophic floods that disrupted the holy town of Kedarnath, in 2013. Through a detailed analysis of the aforementioned visual portrayals, this article aims to emphasise as to how Films can play an important role in effectively addressing dealing with the issues related to Climate. Further, the rationale of this paper is to underscore the possibility of more such storylines, as a tool towards effective engagement and levitation of conscience.

Keywords: Climate Change, Cultural Studies, Bollywood, Films, Eco-criticism etc

Psychosocial Impacts of War and Trauma in Temsula Ao’s Laburnum for My Head

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451 views

Raam Kumar T.1 & Dr.B.Padmanabhan2

1PhD Research Scholar, Department of English and Foreign Languages, Bharathiar University. Email: raamkumar.efl@buc.edu.in. ORCID: 0000-0003-0694-8671
2Assistant Professor, Department of English and Foreign Languages, Bharathiar University. Email: padmanabhan@buc.edu.in. ORCID: 0000-0001-7395-126X

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s9n4

 Abstract

Violence constantly carries trauma and suffering to combatants as well as non- combatants identically. It also brings enmity and negativity to everyone both emotionally and physically. The cause for any conflict does not emerge from single motive but depends on multiple factors like socioeconomic conditions, marginalisation, discrimination, political power and sometimes even environmental elements. In recent times, the conflicts often emerge among various regional groups rather than states. North Eastern part of India is one of the hotspots for such ethnic conflicts and violence. The major motives for bloody conflict between Indian Army and the underground armed rebels are perceived political imbalance and desire for a separate nation. Even the common civilians are forced to join the rebel groups without knowing consequences. Temsula Ao is one of the prominent English writers from Nagaland who through her moving narratives brings out the existent misery of conflict in her native land. The aim of this paper is to study the psychological impact of domestic violence over the combatants as well as non-combatants whose lives are inseparably intertwined with violence and bloodshed. Though violence is considered as typical condition of human nature most of the time it leads to unbearable trauma and misery. This paper also attempts to interpret the representation of women from the marginalised Ao community who finds difficult to preserve the customs and moral values in spite of regional revolt.

Keywords: Psychological imbalance, Domestic violence, Aggression, North East India

The Absence of the Female in Medical Discourses of 19th century Bengal

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393 views

Tapti Roy

Assistant Professor, School of Humanities and Social Sciences, Sharda University

E-mail: subterraneanhominin@gmail.com/tapti.roy@sharda.ac.in, ORCID Id: 0000-0001-9354-1882

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s8n3 

Abstract

The 19th century also witnessed a plethora of innovations in medicine that led to the rejection of the theory of miasma giving rise to a new perspective on human body and the diseases thereof which facilitated substantial study on tropical medicine and diseases by the imperial administration. Few contemporary novels bear testimony to this advancement of medicine and the advent of natives in the military and civil medical services. The paper, in question, will utilise one such novel that is, Banaphool’s Agniswar as an entrepot to question the absence of women in the evolving 19th century colonial medical discourse as active beneficiaries. It would seek to establish that women suffered worse than their male counterparts as their diseases were considered to be private affairs to be dealt exclusively within the confines of the household. The paper will commence by classifying contemporary females under three heads that is Memsahibs, Bhadramahilas, and the rest followed by studying them on the basis of Edward John Tilt’s Health in India for British Women, the case of Queen Empress vs Hurree Mohun Mythee, 26th July, 1890, and finally Ranajit Guha’s Chandra’s Death. To sum up, the female bodies will be studied as homogenous, dehumanized, and malleable, spaces appropriated by the males both native and colonial, to serve as sites of performative resistance against polluting mutual influences. Additionally, as female bodies they were intended to be ideologically consumable objects embodying the discourses of purity of the respective civilizations. Protecting the female body, claiming ownership, and control followed by the apathy of the colonial administration will be demonstrated as a reflection of medicine and public health in colonial India as a selective enterprise seeking to maximize economic and political gains.

Keywords: Colonial medicine, 19th century Bengal, Female bodies, Public health, Colonial woman, Chandra Chashani, Phulmoni Dasi

Rhizomatous Identity in “The Yellow Wallpaper”: A Deleuzo-Guattarian Perspective

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667 views

Preeti Puri1 & Shefali2’

1Assistant Professor, Department of Humanities and Management, Dr. B. R. Ambedkar National Institute of Technology Jalandhar. Orcid id: 0000-0002-6822-5420. Email: purip@nitj.ac.in

2Assistant Professor, DAV University. Email: shefalibassi1997@gmail.com

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s6n3 

Abstract

This article is an attempt to move beyond the conventional binary heuristic of identity to its progressive representation based on multiplicity, difference, and dispersion popularized by the ‘rhizomatic’ theory of Gilles Deleuze and Félix Guattari, in Charlotte Perkins Gilman’s story, “The Yellow Wall Paper”. It is a cliché belief that multiplicity comprises of numerous units, and these units can be eventually united under one category such as the ages of population. Deleuze and Guattari interrogated such logocentric assumptions, and ‘arborescent root- tree’ model of objectified structures, language, identity and self. This article seeks to trace the voyage of Jane’s identity whose dairy constitutes the story “The Yellow Wall Paper”. Her identity has evoked ramified and conflicting networks of references. Feminists broach that she is caged to be a conventional caring mother; for a Freudian she is a ‘hysteric’ struggling with temporary nervous depression, Lacanian posit that she is a ‘psychotic’ who persistently tries to satisfy the ‘gaze’ of her physician husband John, and for a Deleuzian the moment she fails to bear the burden of capitalism driven ‘bio-power’ and ‘nuclear family’ she becomes a ‘schizo’. The object of study of this article is not Jane’s mind which romanticizes asylums rather the interrelation between ‘bio-power’ and her ‘desire’. The article will portray that Jane’s ‘self’ is evacuated from its fixed position to cherish free form of human interaction, and her identity is not handcuffed by any law, rather it is in a state of constant ‘flux’, in a ceaseless motion of ‘becoming’, it is a ‘rhizome’, facilitating a non- hierarchical network.

Keywords: Body Without Organs, Assemblage, Desiring- Machine, Rhizome

Privileging Oddity and Otherness: A Study of Haruki Murakami’s Kafka on the Shore

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588 views

Rasleena Thakur1 and Vani Khurana2

1Ph.D. Research Scholar, School of Social Sciences and Languages, Lovely Professional University, Punjab, India.Email: rasleena1103@gmail.com, ORCID ID: 0000-0002-3032-2831

2Assistant Professor, Centre of Professional Enhancement, School of Social Sciences and Languages, Lovely Professional University, Punjab, India.Email: vani.khurana@lpu.co.in

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s6n2 

Abstract

The concept of otherness in literature usually comes under the broad purview of postcolonial studies, relating to the subaltern and the displaced. This paper, however, focuses on the concept of the ‘other’ and the ‘odd’ in the light of magical realism and how the characters which are generally side-lined by society on the basis of their sexual preference, mental capability, physical deformity, gender fluidity and age find a clear and distinct voice in these fictions. Haruki Murakami’s novel Kafka on the Shore is taken up for this study. The unique blend of surrealism (the progenitor genre) with magical realism (the offspring mode) in the novel creates an oneiric landscape which is still very much rooted in reality, in present day Japan. The paper concentrates on the trauma of certain characters and how their exclusion from society leads to their subsequent recovery. The paper through a detailed and critical study of the novel’s unusual characters and their non-deterministic status of being typified in traditional categories posits magical realism as an apt literary mode for those who lack a voice and are underrepresented in conventional texts. Here ostracism is not portrayed as pessimistic but as a locus for growth and self-discovery.

Keywords: Magical Realism, Murakami, Gender fluidity, Disability, Otherness, Trauma.

The Search for Identity in Doris Lessing’s The Good Terrorist and Abdallah Thabit’s The Twentieth Terrorist

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466 views

Bushra Juhi Jani

Nahrain University, Baghdad, Iraq, E-mail: bushrajani@ced.naharinuniv.edu.iq, https://orcid.org/0000-0002-8981-7003

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s6n1 

Abstract

This paper investigates the search for identity in two culturally diverse novels, Doris Lessing’s The Good Terrorist (1985) and Abdallah Thabit’s autobiographical novel The Twentieth Terrorist (2006). The paper examines how identity crisis makes Lessing’s heroine, Alice, squat with a group of radicals in London and be drawn into their terrorist activities, and makes Zahi, the protagonist of Thabit’s novel, accept being recruited by extremist religious group. However, the findings of this study prove the transformation of both Alice and Zahi. Alice is a different woman at the end of the novel and Zahi escapes from being the terrorist number 20 of the September 11th attack.

Keywords: search for identity, radicalization, terrorism, September 11th attacks.

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