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Editorial Introduction

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 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s0n1

The Rupkatha International Open Conference 2020 is the first international conference that was organized by the Rupkatha journal initiative. It is the first open-access conference organized by  a Scopus indexed journal in the Humanities in India, and indicates a logical  trajectory to Rupkatha’s growing outreach in India and South Asia and indeed all over the world. The RIOC was also organized as a collaborative event with academic support of  Dr. Priyanka Tripathy of IIT, Patna and Dr. Swayam Prabha Satpathy of the Sikhsha and Anusandhan University, Bhubaneswar. We should acknowledge that the collaborative help of the IIT Patna and Sikhsha and Anusandhan have contributed to give a new dimension to the event. The most significant achievement of the Rupkatha initiative has been the participation of hundreds, if not thousands of academicians, academic aspirants and doctoral or graduate and postgraduate level students from worldwide each one of them bringing in their fresh perspectives into the event, responding to the Call for Papers by writing, reflecting and involving a transition across interdisciplinary textuality of the arts, cultures, humanities issues, politics and the environment nto  the debate which nuanced and leveraged both cotinuig and fresh ideas in the academy today. The faculty from IIT Patna and Sikhsha o Anusandhan, along with lesser involvement of faculty from various institutions and Universities all over the world, contributed to the humongous task of the management of responses to the Call for Papers and then reviewing and selecting every possible presentation after critical inquiry and observations throught that are required aspects of any good blind peer review system.

The editors of Rupkatha and the reviewers on the Rupkatha board made it possible to complete the peer review process of close to two thousand extended paper proposals within an incredibly short period of time. The entire process was of course completed in the context of a rigorous online system that was also partially mandated by the restrictions imposed onour movements and interactivity that resulted from the penetration of the novel Corona virus and the worldwide pandemia that interrupted movement, forced people to work from their individual niches, cope with the stress of different and often-extraordinary environments of work and life. Yet, under the funding resources of Rupkatha, which is a essentially a free and open access provider, the collective social effort formed a perfect example of how the large community of academicians, students, social scientists and authors came together to synchronize efforts for hosting the three day international webinar. The fees collected for defraying expenses of platform charges and open-access web hosting of the conference has created the great financial opportunity which could be exploited to conduct the proceedings of the conference in a smooth and extremely professional manner and without any slightest glitch within the entire three day period of transmission involving participation and reception of the high tech Zoom powered webinar that went streaming from the geodesic of the Eastern part of India out across the whole world with its different time-zones. The Rupkatha webinar, hosted with the distributed entanglement of an extraordinarily large community of scholars in different geodesics afforded a most remarkable experience in communication across space and time. The process suggests in what future directions satellite mediated communication is likely to affect a discussion on a global or interterrestrial space and the possibilities already inherent within that system, the breaking of frontiers of time, the collusion of space, the ability to converge on expedient foci by people who are interested in similar issues in different affordances.

The Proceedings have been published on the 17th of October 2020 and launched again on a transnational scale with an event that befittingly seeks to mark the transition of Rupkatha as a conference portal, just as much as a online open-access journal. After a decade long experience of peer-reviewed publication Rupkatha has now successfully implemented rapid issue based conference proceedings publication, maintaining its mission of independent reviews and an elevated quality of academic research. The deliberations of speakers in the inaugural event has demonstrated the possibility of hosting the most important intellectual thinkers in the academy; their willingness to join the Rupkatha movement impels that specific community to sensitise itself around a context like that of Covid. There is no doubt in our minds that the quarantine imposed by Covid does not stand as an intermission. Abdul JanMohamed’s path-breaking inaugural speech has sensitised the post-Covid academia with the death threat that is always unconsciously imposed over an underpriviledged minority in every part of the world. The walls of segregation that separate individuals from individuals needed to be broken down, first intellectually and then physically. The wall contitutes the major persuasive symbolism of  inequity in the contemporary world. The fearlessness and vision of the human being contra death, disease, slavery and war, in a world which is cowered by death remains the abiding message of the RIOC 2020.  An additional feature of this great conference was the inclusion of the social sciences within the spectrum of the conference. Social science perspectives on the social dimensions of the contemporary world has provided this bridge for the humanities in the Rupkatha conference. Few events have actually succeeded in associating social science and language analysis to the humanistic objectives that are at the core of literary and cultural studies. The only way in which the humanist ethics continues to influence the academy is to show, somewhat in the sense of the early Cartesians of the sixteenth century, that the human interest defines any kind of investigation into the psyche and its evolving character in the collective consciousness that is affecting us. I wish to thank each and all for the collaborative effort which yielded the best fruits of the RIOC 2020 and the publications of the proceedings. The success of the effort shall be carried over to future events of Rupkatha.I end with a perorative call for any similar future discourse and Rupkatha’s promise to organize people around these interests.

Tirtha Prasad Mukhopadhyay & Tarun Tapas Mukherjee

Online Yaoi Fanfiction and Explorations of Female Desire through Sexually Exploited Male Bodies

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1.1K views

Shweta Basu

Ph. D Research Scholar, Department of English, Jadavpur University. E-mail: bluezy08@gmail.com

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s1n3

Abstract

This essay will try to trace the phenomena of rape, dub-con (dubious consent), and non-con (non consent) as literary expressions of sexual violence which find their graphic and image-laden expression in anglophoneyaoi (fiction centred upon male homoerotic relationship (s) in the Japanese anime/manga context) fanfictions (fiction written by fans based on an extant work). Through my work, I try to delve into the question of consent and the rationale of such literary acts through fan ethnography. Also there is the fiction-based otherization of the authorial self as fanfiction is written purely for the pleasure (often masturbatory) of the author and the intended and implied audience (the yaoifanbase) who, while harboring and finding pleasure in such fantasies, do not subscribe to such notions in real life nor would they enjoy to be in such situations. The essay also deals with the question of how gay men are represented in such texts and their discomfort in such representations, where their bodies and sexuality are produced and consumed as tools of entertainment for women. These erotic texts exclusively cater to the female psychosexuality, as they are produced by and for women. Since in yaoi texts no involvement of the female body per se hence the pleasure is derived from a mental correlation. The fanbase of such work is also huge, centered around the rotten girls/fujoshi culture.

Keywords: rape, dub-con, non-con, yaoi, fanfiction, fan ethnography, pornography, aesthetic beauty, male homoerotic, derivative artworks.

Art in the Digital during and after Covid: Aura and Apparatus of Online Exhibitions

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João Pedro Amorim1 & Luís Teixeira2
1Universidade Católica Portuguesa, School of Arts, CCD/CITAR, pamorim@porto.ucp.pt, https://orcid.org/0000-0002-0267-1276

2Universidade Católica Portuguesa, School of Arts, CCD/CITAR, lteixeira@porto.ucp.pt, https://orcid.org/0000-0002-1206-4576 

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s1n2

Abstract

The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital reproduces and enhances ideological structures that overpass the whole of society. For that purpose we analyse how four different organisations (an artist-run space, an art gallery, a museum and an art biennale) have migrated their activity to online platforms. The case-studies will allow a broad understanding of the different approaches available – with some radically taking advantage of the digital environment, and others merely digitising the role taken henceforth by printed catalogues.

Keywords: reproducibility of the work of art, Art in the Digital, Aura, Contemporary Art, apparatus

The Way of the Firang: Illustrating European Social Life and Customs in Mughal Miniatures (1580 CE -1628 CE)

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383 views

Soujit Das1  & Ila Gupta2

1Assistant Professor of History of Art, Government College of Art and Craft Calcutta, West Bengal, India.

2Retired Senior Professor, Department of Architecture and Planning & Joint Faculty, Department of Humanities and Social Sciences, Indian Institute of Technology Roorkee, Uttarakhand, India.

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s1n1

Abstract

During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 CE, following the First Jesuit Mission to the Court of Emperor Akbar, a new cross-cultural dialogue was initiated that not only impacted the socio-economic and political fabric but also the artistic productions of the time. The growing presence of the European traders, ambassadors, soldiers, and missionaries in the Mughal world also lead to several curious narratives that were widely circulated. These tales also gave birth to cultural misconceptions as the Europeans on several occasions were seen as social evils. They were often collectively addressed as Firang/Farang or ‘Franks’ and were perceived as ‘strange and wonderful people’ or ‘ajaib-o-ghara’ib’. It was during the Mughal reign when for the first time in Indian visual culture, a conscious attempt was made to document the life and customs of the European people. This paper attempts to understand how the processes of cultural alienation and Occidentalism had influenced the representation of Europeans in Mughal miniatures. It also argues how Mughal artists innovate new iconographic schemes to represent and perpetuate a sense of the ‘other’. How artists used these identity markers to establish notions of morality as well as of Islamic cultural superiority. The select illustrations also attempt to elucidate how these representations of Europeans were culturally appropriated and contributed to the Mughal ‘fantasy excursions’.

Keywords: Firang, Mughal, miniatures, Occidentalism, cross-cultural encounters

The State of Turkological Science in China: Turkic Language and Turkic Writing Research

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Duken Masimkhanuly1, Ainur Abidenkyzy1, Dinara K. Nygmanova1, Akmaral A. Batayeva1 & Karakat Toibol1

1Department of Chinese Philology, L.N. Gumilyov Eurasian National University, Nur-Sultan, Republic of Kazakhstan

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.30

Abstract

This article is devoted to the state of Turkic science in China, the study of the Turkic language and the Turkic script. The article highlights the major works of famous medieval research centers in China, which were engaged in the study of the Turkic science. Primary objective of the article is the study of contemporary Turkologists of China. Consequently, this article has an undeniable novelty, since the influence of such an empire as China with a long history on the Turkic civilization is well-known facts, but the influence of the Turkic civilization on the Chinese is really little studied aspect in science.

Keywords: Turkic language, Turkic writing, fundamental works, dynasties, monuments, research, expeditions.

The Idea of Eternal Country in the First Epic Poems of the Turkic People

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478 views

Aslan E. Alimbayev1, Laura N. Daurenbekova2, Kayrbek R. Kemenger1, Saule K. Imanberdiyeva3 & Nurbol K. Bashirov1

1Department of Kazakh Literature, L.N. Gumilyov Eurasian National University, Nur-Sultan, Republic of Kazakhstan

2Department of Kazakh and Russian Philology, Eurasian Humanities Institute, Nur-Sultan, Republic of Kazakhstan

3Department of Kazakh and Russian Language, S. Seifullin Kazakh Agrotechnical University, Nur-Sultan, Republic of Kazakhstan

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.29

 

Abstract

The inscriptions on the white stones have been evidence of the fact that Turkic people had their writing, culture, tradition, history and the path they made and in the V-VIII centuries. The article introduces with the data about Turkic people inhabited in Central Asia through Orkhon monuments and determines that the ancient Turks struggled to be “an eternal independent country” in the fifth century. Moreover, the article considers the importance of runic inscriptions in the Orkhon monuments in the systematization of Turkic studies by defining the historical-comparative direction of modern linguistics.

Keywords: Turkic, translation, transcript, stone inscription, epic poem, toponymy.

Echoes of the Turkic World and Folklore in the Holy Book Avesta

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313 views

Aktoty Nusipalikyzy1, Maulenov Almasbek1, Baigunakov Dosbol2, Toty I. Koshenova3 & Leila A. Mekebaeva1

1Department of Kazakh Literature and Theory of Literature, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan

2Department of Archeology, Ethnology and Museology, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan

3Department of Kazakh Philology, Akhmet Yassawi International Kazakh-Turkish University, Turkestan, Republic of Kazakhstan

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.28

Abstract

The holy book “Avesta” is one of the magnificent creations of the world, which contains valuable information about religion, literature, culture, geography, history and mythology of the ancient peoples of Central Asia. For several centuries, many scholars of various specialties have been interested in “Avesta”. In numerous comments they discussed the history of the appearance of the book and its hymns, the personality of Zarathustra, his homeland, geographical objects, historical characters and mythological images, the ideological basis of the collection of holy books, etc. Many of the above mentioned questions are still being discussed among specialists, causing and over-colouring certain problems. In their work, the authors tried to find something in common between the “Avesta” and the Kazakh literature, exploring the spiritual relationship of the “Avesta” with the mythology of the people. As practice shows, various phenomena in the folklore of the peoples of the world are experiencing their birth, formation, flourishing, decay and death. Forms are modified, disappear, replaced by others. But sometimes the most ancient layer of folk art is preserved as a relic. Sometimes it is very difficult to see the traces of the most ancient representations in national folklore. Therefore, the authors of the article analyzed the works of Kazakhstani authors who studied some points in the “Avesta” and they made only an attempt to investigate the remains of the Kazakh archetype in this ancient literary monument. This article, without claiming to completely cover the available material, sees the main task in providing a holistic conceptual overview of the Kazakh literature on the above mentioned problem.

Keywords: Zarathustra, folklore, spiritual and moral parallels, zhyrau, spiritual heritage.

 

Aestheticizing Violence: Paul Bowles’ Prolific Partnership with His Motiveless Villain in The Delicate Prey

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382 views

Sina Movaghati

Doctoral Candidate at the Heidelberg Center for American Studies, Heidelberg University, Germany. ORCID ID: 0000-0003-3433-2487. Email: sina.movaghati@as.uni-heidelberg.de

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.27

Abstract:

Many critics have regarded the violence in Bowles as “meaningless” or “motiveless.” By defining the connection between motive and act, this article tackles the indefinite nature of violence in Paul Bowles’ collection of short stories, The Delicate Prey. To this end, a study of the typical Arab character in Bowles is offered. Also, the motive behind Bowles’ villain is defined in the light of Samuel Taylor Coleridge’s term “motiveless malignity.” It is discussed that the contextless violence of Bowles has an estrangement effect on the victim; and his detached narration technique, together with the excessive occurrences of violence, leads to an aesthetic experience on the reader. “Aesthetic experience” is explained based on Slobodan Markovi?’s definition of the term. It is concluded that Bowles’ maneuvers over the subject of violence should be viewed in the light of a modernist aesthetic tradition based on violence rather than praxeological humanistic chain reactions.

Keywords: Paul Bowles; The Delicate Prey; motiveless violence; aesthetic experience

 

Poetics of Space and Its Association with Human Soul in Brian Dillon’s In the Dark Room

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307 views

Hassan Abootalebi1 & Alireza Kargar2

1PhD student of English Language and Literature, Kharazmi University, Tehran, Iran. Email: abootalebi2010@gmail.com

2M.A in English Language and Literature, Lorestan University, Khorramabad, Iran. Email: alirezakargar1984@gmail.com

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.26

Abstract

The present paper intends to analyze and put under scrutiny Brian Dillon’s memoir In the Dark Room (2005) in the light of Gaston Bachelard’s theories of house as an intimate space explicated and expounded on in his magnum opus The Poetics of Space (1964). Since Bachelard’s ideas are often associated with phenomenology which accentuates the significance of the manner in which phenomena appear to us and are given meaning, the house and objects in it as a place of intimacy are of paramount importance to him. The spaces along with objects are not merely possessions which can be lived in or owned by individuals, but rather they express and suggest human emotions and human soul. They also have the power to transport us back into a distant past and evoke deeply buried memories and feelings. The house, says Bachelard, protects both daydreaming and the dreamer and allows one to dream in peace. Moreover, it provides a restful place in which imagination and thought are both stimulated. The title-mentioned work can be investigated in the light of Gaston Bachelard’s theories to provide proof for the above claim. The narrator of In the Dark Room is surrounded with objects and places which are capable of taking him back to the past arousing his interest and making him conjure up bygone days. Not only does the house function as a metaphor for evoking memories, but also the street and the place in which Dillon’s mother was hospitalized are accentuated. Hence, in the subsequent sections of the current paper, first phenomenology will be defined and elaborated on, then Brian Dillon’s selected work will be scrutinized based on Gaston Bachelard’s house-related theories and notions in order to demonstrate the association of the house and its objects with human soul and imagination.

KEYWORDS: Gaston Bachelard, Poetics of Space, Brian Dillon, In the Dark Room, phenomenology

Review Article: The Crises of Civilization: Exploring Global and Planetary Histories (2018) by Dipesh Chakrabarty

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413 views

Publisher: Oxford University Press (2018). Language: English

ISBN-13 (print edition): 978-0-19-948673-1. ISBN-10 (print edition): 0-19-948673-5

Reviewed by

Shikha Vats

Doctoral Fellow and Teaching Assistant, Department of Humanities & Social Sciences, Indian Institute of Technology – Delhi. Email: shikhavats.iitd@gmail.com

 Volume 12, Number 4, July-September, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n4.25

W. E. B. Du Bois (1903) had famously said that the problem of the twentieth century “is the problem of the color-line” (p. 13). Dipesh Chakrabarty declares, in this new volume, that the question of the twenty-first century will be that of climate crisis. The major events of the twentieth century, including the processes of imperialism, colonization, and globalization led to widespread migration of people all across the globe framing new intersubjective equations such as oppressor-oppressed, privileged-marginalized, mostly along what Du Bois called ‘the color-line’. The major fallout of this colonial and capitalist project in the last century has been global warming which is set to affect the entire planet and hence needs to be at the forefront of all policy decisions in the twenty-first century. In order to grapple with this new age of the Anthropocene, whereby human beings have become a geophysical force capable of altering the course of the planet, Chakrabarty urges a rethinking and reformulation of the discipline of history…Full Text PDF

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