Disability Studies

Why do Words with Negative Connotations Still Exist? A Corpus-Based Analysis of the Words ‘Handicapped’, ‘Diffable’, and ‘Disability’

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Yoga Yolanda1*  & Budi Setyono2    
1 Study Program of Indonesian Language and Literature Education, Faculty of Teacher Training and Education, University of Jember, Jember, East Java, Indonesia. *Corresponding author.
2Study Program of English Education, Faculty of Teacher Training and Education, University of Jember, Jember, East Java, Indonesia.

Rupkatha Journal, Vol. 15, Issue 4, 2023. https://doi.org/10.21659/rupkatha.v15n4.15
[Article History: Received: 15 September 2023. Revised: 08 December 2023. Accepted: 18 December 2023. Published: 19 December 2023]
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Abstract

This corpus-based study examines the persistence of negatively connoted words in the Indonesian, particularly focusing on cacat (handicapped). Cacat is compared to its synonyms, namely difabel (difable) and disabilitas (disability). The study employs a mixed-methods approach, using data from Indonesian corpora, specifically ‘ind_mixed_2013’ and ‘Korpus Indonesia.’ The analysis results indicate a gradual transition from the use of the word cacat to disabilitas in discussions about human conditions, while cacat still retains important metaphorical meanings in specific contexts and is irreplaceable. Recommendations encompass a review of language term absorption rules in Indonesian, stipulating that new words must be euphemistic and free from negative connotations, to be undertaken by the government.

Keywords: handicapped, difable, disability, synonyms, negative connotations

Sustainable Development Goals: Peace, Justice and Strong Institutions
Citation: Yolanda, Y. & Setyono, B. (2023 Why do Words with Negative Connotations Still Exist? A Corpus-Based Analysis of the Words ‘Handicapped’, ‘Diffable’, and ‘Disability’. Rupkatha Journal 15:4. https://doi.org/10.21659/rupkatha.v15n4.15 

Of Maternal Uncles and Mangalik Brides: Sakuni in the Folk Narrations of The Mahabharata

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Seema Sinha1, Kumar Sankar Bhattacharya2 & Sailaja Nandigama3
1Ph.D. and a Post-Doc from the Department of Humanities and Social Sciences, BITS Pilani, Pilani Campus, Rajasthan. Email: p2015101@pilani.bits-pilani.ac.in
2Associate Professor in the Department of Humanities and Social Sciences BITS Pilani, Pilani Campus, Rajasthan. Email: kumar.bhattacharya@pilani.bits-pilani.ac.in
3Associate Professor, Department of Humanities and Social Sciences, BITS Pilani, Pilani Campus, Rajasthan. Email: sailajan@pilani.bits-pilani.ac.in

[Received February 10 2023, modified 24 July 2023, accepted 25 July 2023, first published 29 July 2023]

Rupkatha Journal, Vol. 15, Issue 2, 2023. https://doi.org/10.21659/rupkatha.v15n2.23
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Abstract
The timelessness of The Mahabharata lies in its ability to re-invent itself, thereby giving the society a chance to re-negotiate, revise, and revive the discourse. It also gives the so-called ‘villains of the piece’, well established in the ‘rogues’ gallery’, a chance to redeem themselves. One such character is Sakuni, the ‘shrewd’ maternal uncle of the Kauravas, whose negative image in Vyasa’s textual universe is questioned by the folk renditions of the grand epic. The Oriya Mahabharata by Sarala Das views Sakuni not as the master conspirator who brought about the great war, but as a victim who suffered because of the court politics of the Kauravas. The strong popular culture that supports him is also evident in the narratives of the Kalbelias of Rajasthan, and in the folk renderings of the epic in Kerala. This makes us reflect as to why the meta-narrative has vilified Sakuni and treated him with contempt when the folk traditions view him in a more charitable light, or at least give him the benefit of doubt. This paper utilizes narrative research methods to understand the dehumanization of Sakuni in the dominant discourse. It employs the postmodern theories of psychoanalytical criticism and deconstruction in the study of the petite narratives associated with Sakuni to facilitate engagement, plurality, and divergence in the discourse. The paper attempts to read the chronicles of self, society, and social justice in these lesser-known narratives to liberate Sakuni from his filial debt and relocate him into the discursive universe.

Keywords: The Mahabharata, Sakuni, discursive, petite narratives, oral tradition, plurality, social justice

[Sustainable Development Goals: Peace, Justice and Strong Institutions, Reduced Inequalities]

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Magic on Wheels: A Study of Re-engagement, Re-enactment and Re-staging the Stereotypes of Performativity and Performance of Persons with Disabilities in the Choreography of Syed Sallauddin Pasha

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Radhika Sharma1 & Nagendra Kumar2

1Research Scholar, Department of Humanities and Social Sciences, IIT Roorkee. India. E-mail: rsharma@hs.iitr.ac.in, ORCID ID 0000-0001-5163-065X

2Professor, Department of Humanities and Social Sciences, IIT Roorkee. India. E-mail: nagendra.kumar@hs.iitr.ac.in

 Volume 13, Number 3, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n3.27

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Abstract

Amidst society’s segregation of the people among minorities on the basis of gender, race, caste and creed, it is difficult to locate the position of another extreme social minority, i.e. persons with disabilities. But the turn of the century has validated some art and activism performed by persons with disabilities due to which the disabled have marked their position in literature, film and media to some extent, yet they have not secured a position of dignity in the mainstream. To make disabled people visible, Syed Sallauddin Pasha (the father of Indian dance therapy for persons with disabilities) initiates his own Natya Shastra i.e. Classical Wheelchair Dances for differently-abled artists. Drawing upon Syed Sallauddin Pasha’s therapeutic dance choreography, the present paper studies performance arts in the context of differently-abled people, and for this, the paper explores the intersection of Performance Studies and Disability Studies. In performing arts (or dance in particular), the body is the medium of representation, likewise, the body defines the identity in the context of disabled people. Therefore, the paper by studying the intersection of Disability Studies and Performance Studies, explores the stereotypes related to the body by scrutinising the disabled dance bodies on the stage. The paper further attempts to explore the idea of accessibility for persons with disabilities by taking into account the assistive devices and accessible architecture. The study then goes into an analysis of spectators’ response, stare and gaze towards disability dance performances. In a broader context, the paper offers to scrutinise the negative stereotypes attached to disability and disabled dancing bodies on stage by exploring the nuances in Syed Sallauddin Pasha’s choreography.

 Keywords: Performance, disability, dance, physically integrated dance, interdependence, accessibility, gaze

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