Travel Writings - Page 2

Flânerie in female solo travel: an analysis of blogposts from Shivya Nath’s the Shooting Star

/
332 views

Sanchari Basu Chaudhuri

Research Scholar, Department of Sociology, Jamia Millia Islamia, New Delhi, India. ORCID: 0000-0002-9414-9724. Email: sancharibasu84@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.35

Abstract

Contemporary travelogues have spilled over to social media through travel blogs. This paper explores the lens of flânerie to examine blogposts of the immensely popular The Shooting Star run by Shivya Nath, a proponent of Indian female solo travel. Concerns of risks associated with safety, sexual gaze and harassment often inhibit women from loitering. Such perceptible risks increase furthermore in the case of solo female travellers. The paper argues that travelogues of this blog construct travel experiences, motivations and obstacles through hybrid positions offered by flânerie. The study concludes that this construct is an important tool while negotiating public spaces which contributes towards narratives of subversive reading of gender writing in travelogues.

Keywords: flânerie, India, solo female traveller, travel blogs

You might be interested in

A Journey of Exploration and Reconstruction of the Feminine Self: Reading Shivya Nath’s The Shooting Star: A Girl, Her Backpack and the World (2018)

//
369 views

Akshita Chotia

Research Scholar, Department of English and Modern European Languages, Banasthali University, Rajasthan. Email: akshitasharma0023@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.34

Abstract

The contemporary philosophical, intellectual and literary plentitudes aver the fact that travel literature deals with the discourse of identity. Travel records our temporal and spatial progress. It throws light on how one is defined and identified. Many critical texts on travel writing have explored the transcendental world of the journey of the human self. Further, there have been some critical theorists from India as well who have also examined the uncanny nature of journey and therefore the journey in the outside world is represented as a metaphor of the journey of the internal world. In addition, there have been some Indian women writers who have explored the complex terrain of journey that a woman undertakes and through the process they explore themselves. The present paper intends to explore the journey from an existential crisis to the growth of the woman self in the book The Shooting Star: A Girl, Her Backpack and the World (2018) by Shivya Nath. The vivid descriptions, moving encounters and the uplifting adventures of an Indian woman which are depicted in the book, map not only the world but also the human spirit. The study intends to apply the basic arguments of female bildungsroman and theory of self for understanding the process of growth and development as far as the life of the protagonist is concerned.

Keywords: identity crisis, exploration of the woman self, female bildungsroman, travel literature

You might be interested in

Travel Discourses: Narrative of Witnessing Human Rights in Samanth Subramanian’s This Divided Island (2014)

//
226 views

R. Samuel Gnanaraj¹ & S. Azariah Kirubakaran²

¹PhD Research Scholar, Department of English, Bishop Heber College (Autonomous), Tiruchirappalli (Affiliated to Bharathidasan University, Tiruchirappalli). ORCID: 0000-0002-2837-1175.Email: rgsam93@gmail.com

²Assistant Professor, Department of English, Bishop Heber College (Autonomous), Tiruchirappalli (Affiliated to Bharathidasan University, Tiruchirappalli). Email: sak.bhc@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.33

 Abstract

Travel discourses very often reflect what the traveller encounters among the people, regarding their culture, tradition and space. The nuance of encountering the novelty is pivotal for a traveller. Samanth Subramanian in This Divided Island emancipates many restraints through identifying the solitude and unseen areas in the divided island (Sri Lanka). This paper aims to present the narrative of violation of human rights through embracing the interdisciplinary subject of travel across boundaries. Human rights and travel writing are vital to its subject. It establishes the narrative of witnesses of the internal war that happened in Sri Lanka between the Sinhalese and the Tamils for three decades. The narrative discourses in This Divided Island bear the truth of witnessing. This paper also comprises two component features. One, it establishes that travel writing witnesses the unseen realm of humanity during the wartime in Sri Lanka, and two, it witnesses the deep memories and rebuilds it. The sufferers of the war were neither majority nor minority. The important facets of the civilians who were affected internally and externally underwent a period of transition, where they became victims or they were restructured as militants. Subramanian’s This Divided Island brings strength and reveals unknown factors and transmits the violated rights through narrating the events.

Keywords: Travel, Witnessing, Human Rights, Memories, Rebuilding

You might be interested in

Representing Kolkata : A Study of ‘Gaze’ Construction in Amit Chaudhuri’s Calcutta: Two Years in the City and Bishwanath Ghosh’s Longing Belonging: An Outsider at Home in Calcutta

///
348 views

Saurabh Sarmadhikari

Assistant Professor, Department of English, Gangarampur College, Dakshin Dinajpur, West Bengal. ORCID: 0000-0002-8577-4878. Email:  saurabhsarmadhikari@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.32

Abstract

Indian travel writings in English exclusively on Kolkata have been rare even though tourist guidebooks such as the Lonely Planet have dedicated sections on the city. In such a scenario, Amit Chaudhuri’s Calcutta: Two Years in the City (2016) and Bishwanath Ghosh’s Longing Belonging: An Outsider at Home in Calcutta (2014) stand out as exceptions. Both these narratives, written by probashi (expatriate) Bengalis, represent Kolkata though a bifocal lens. On the one hand, their travels are a journey towards rediscovering their Bengali roots and on the other, their representation/construction of the city of Kolkata is as hard-boiled as any seasoned traveller. The contention of this paper is that both Chaudhuri and Ghosh foreground certain selected/pre-determined signifiers that are common to Kolkata for the purpose of their representation which are instrumental in constructing the ‘gaze’ of their readers towards the city. This process of ‘gaze’ construction is studied by applying John Urry and Jonas Larsen’s conceptualization of the ‘tourist gaze’. Borrowing the Foucauldian concept of ‘gaze’, Urry and Larsen state that ‘gazing’ is a discursive practice that is both constituted by the filters of the gazer’s cultural moorings as well as the institutionalized mechanisms of the travel/tourism industry which rely significantly on the deployment of signs and signifiers to construct the ‘gaze’ of the travellers and the tourists towards a tourist destination. The present paper seeks to analyze how both Chaudhuri and Ghosh use ‘selective’ signifiers of the city of Kolkata to construct the ‘gaze’ of their readers towards the city in their representation.

Keywords: representation, gaze, construction, Kolkata, travel narratives

You might be interested in

Boundaries as Crossovers: The Shoreline as a Digressive Site in Ramkumar Mukhopadhyay’s Dhanapatir Sinhalyatra (2010)

//
258 views

Upamanyu Sengupta

Assistant Professor of English, Maharashtra National Law University Mumbai. Orcid ID: 0000-0001-7483-8916. Email: senguptaupamanyu@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.31

 Abstract

A prose retelling from the sixteenth century verse composition of Mukundaram Chakrabarti’s Kavikankan Chandi of the merchant Dhanapati’s voyage to Sri Lanka, Ramkumar Mukhopadhyay’s award-winning Bengali narrative Dhanapatir Sinhalyatra (2010)[Dhanapati’s Journey to Sri Lanka] is richly digressive. These digressions feature two types of stories: first, tales from the inhabitants along the shoreline as they await the arrival of Dhanapati’s fleet and second, myths drawn from Ramayana and Mahabharata relating the spatial sanctity of the places the fleet passes by. This paper examines these digressions through the spatial category of the shoreline which functions as a zone of seamless crossover between the voyage and the stories. It is here that boundaries between the two become fluid and human stories set across different times and places segue into one another. If, as Ross Chambers argues, digressions demonstrate a ‘permeability of contexts’, shorelines in Dhanapatir Sinhalyatra trigger associations which drift away from the voyage to render it more tangible through an assemblage of the ports the fleet traverses and the stories that unfold in them. Shorelines are also sites for reversal of gazes as the focalizer keeps shifting from the voyagers to the waterside inhabitants who witness the fleet pass by. Here the narrrative veers away from a sequential, ordered and cohesively narrowed telling to a sense of place based on non-linear, decentered, and dilatory meditations of simultaneity.

Keywords: digressions, crossovers, shorelines, assemblage, sense of place

You might be interested in

Cross- Culture Dialogue in R.K. Narayan’s My Dateless Diary

//
246 views

Pulkita Anand

Assistant Professor, Department of English and Modern European Languages, Banasthali Vidyapith, Rajasthan. ORCID: 0000-0003-0586-3975. Email: pulkitaanand@ymail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.27

 Abstract

Man has desires to explore the unexplored, to chart the uncharted, and to know the unknown. R K Narayan takes us to different terrain in his work My Dateless Diary: An American Journey (1960). Though the book was written quite late by Narayan, it has an unmistakable stamp of his style and ease. Written in the first-person, it takes us directly to the core of the writer’s persona and his idiosyncrasies.  The book is about a journey to America and self in the act of writing, journeying inside and outside the world.  It is a conglomeration of fact and fiction, memories and desires, experience and observation, self and other, and the East and the West. The word ‘dateless’ is metaphoric in a way that many things are still prevalent in the present time.  In his witty and amusing tone, Narayan draws up the subtle difference in linguistic, cultural, social, economical, religious and professional aspects of American and Indian ways of life, which at once invites comparison and contrast. It seems to be a mingling of two cultures in literature. Narayan reveals how we Indians get easily adjusted and assimilated in any culture. He also depicts no desire on the parts of Indians to subvert this general representation. The paper aims to dwell on these aspects as reflected in the text. It also attempts to see how Narayan juxtaposed the Indian and American ways of life, and how they complement each other in their ways.

Keywords:  India, America, culture, life, travel, self.

You might be interested in

What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

“If possible, I too shall venture out into the world – that is my desire”: Reading Rabindranath Tagore’s Chhinnapatrabali as Travel Writing

//
354 views

Sarbajaya Bhattacharya

Research Scholar, Department of English, Jadavpur University, Kolkata. ORCID: 0000-0001-6294-7804. Email: sarbajaya.b@gmail.com

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.26

 Abstract

Hugo’s description of a view from a moving train is one of many instances in travel writing which illustrates how the mode of travel (here, the railways) often plays a significant role in the creating of new landscapes within the text. The gaze of the traveller also plays a significant role in landscape production as does their relation to the land they are describing. This article seeks to examine the ways in which ‘literary landscape(s)’ produced by travel- writing are able to challenge the ‘imperial eye’ in the construction and representation of the colony, in this case, Bengal, with specific reference to Rabindranath Tagore’s letters written to his niece Indira Devi. This article shall locate Chhinnapatrabali within the broader framework of British landscape paintings of India in order to examine how Tagore’s text is formulating individual and cultural identities. It seeks to argue that the production of literary landscapes in the letters in Chhinnapatrabali must be seen within the larger colonial project of landscape production and be located within the efforts by the colonial subjects to explicitly and implicitly produce and reproduce landscapes of their own through travel narratives, where landscape becomes an interesting site/sight of Self and national identity.

Keywords: landscape, modernity, Tagore, letters, nation

You might be interested in

Revisiting the Narrative Powers of the Global South through The Travels of Dean Mahomet

//
279 views

Tanutrushna Panigrahi

Assistant Professor, Humanities Education, International Institute of Information Technology, Bhubaneswar, Odisha. Email: tanutrushna@iiit-bh.ac.

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.25

Abstract

The Travels of Dean Mahomet is a 1794 autobiographical travel narrative of an Indian, Dean Mahomet, recalling his years as a camp-follower, servant, and subaltern officer in the East India Company’s army between 1769 and 1784. Mahomet’s Travel includes his journey in India and to the West in which the Indian view of the British rule in India has been recorded. A rereading of the text from the Global South literary perspectives, both contests and agreements, unfolds how the text engages both in colonial and postcolonial concerns simultaneously and create spaces for new literary encounters. The book’s power to negotiate with postcolonial accounts; to demonstrate the existence of multilateral voices, and a multiculturalist’s north-south dialogues comes both from the act of travel and the act of writing. The text plays the victimological narrative take/approach; colonial oppression and anticolonial resistance binaries, non-Eurocentric perspectives and subsequently moves beyond the radical dichotomy of the colonizer and the colonized and the imperialist/nationalist divide of the eighteenth century. More importantly, through the very act of writing it provides a shift of focus from postcolonial to the Global South. A significant literary voice from the non-western location needs to be revisited, established and re-established. This paper aims to read the travel narrative of Dean Mahomet in this context, to explore how the non-European perspectives demonstrate the existence of multilateral voices that participated in the process of imperialism.

Keywords: Global South, Colonial India, Cultural Hegemony, Eurocentric, Orientalism

The Travel Writer as Cultural Icon and Literary Predecessor: Negotiating the African Legacy of S. K. Pottekkat

/
388 views

Meera B.

Assistant Professor, Department of English, Amrita School of Arts and Sciences, Amrita Viswa Vidyapeetham, Kochi Campus. ORCID: 0000-0002-8395-9051. Email: meerab8526@gmail.com.  

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.24

Abstract

S. K. Pottekkat has been the most influential travel writer in Malayalam for many generations of Malayali readers. His travels in Africa in the year 1949-50, recorded in five travelogues beginning with the mid-twentieth century Kappirikalude Nattil, have inspired generations of Malayalis to follow suit and pursue the African dream. This is much more pronounced in the case of well-known Malayali writers whose attempts to write about Africa have inevitably involved a “writing back” to Pottekkat. In this paper, I analyze the African travelogues of two such writers – Tatapuram Sukumaran’s African Poorvadeshangalil in 1986 about his trip to Tanzania and Paul Zacharia’s Oru African Yatra(2005) about his travels from South Africa to Egypt in 2000. Sukumaran is hailed by the Malayali diaspora as the first Malayali writer after Pottekkat to visit the country while the writer-journalist Zacharia is on a self-proclaimed mission “to seek out the present-day form of that Africa which Pottekkat found 54 years ago”. Unsurprisingly, the major part of his journeys is undertaken through the well-trodden paths taken by Pottekkat who himself was inspired by the celebrated travel accounts of Livingstone and Stanley. In this paper, I intend to explore how these two writers writing about Africa in the humungous literary shadow of Pottekkat negotiate his African legacy in the Malayali literary imaginary. How far does the “anxiety of influence” of Pottekkat’s picture of Africa, which was colonial and Eurocentric, impinge on these writers who are trying to represent postcolonial Africa for a different audience in a different time? What are the strategies they adopt to create a distinct voice? These questions, in turn, lead to larger questions about how each tenderfoot traveller’s gaze is mediated by the verisimilar lens of existing discourses as well as by the horizon of expectations of his/her reading public brought up on these canonical narratives.

Keywords: Pottekkat, Sukumaran, Zacharia, Malayali travel writing, Africa, anxiety of influence

You might be interested in

What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Syed Mujtaba Ali’s Deshe Bideshe: an Indian’s perspective on Afghanistan

//
463 views

Abhijit Ghosh

Assistant Professor of English, Balagarh B. K. Mahavidyalaya, Hooghly, West Bengal. Email: abghosh2002@yahoo.co.in

 Volume 12, Number 3, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n3.23

Abstract

Syed Mujtaba Ali’s Deshe Bideshe, first published in 1948, is a travel account of enduring popularity based on his experiences in Afghanistan during the years 1927 to 1929. In this reading I wish to concentrate on the distinctive quality that sets it apart from the typical travel writing of the age produced by the colonial encounter. Mujtaba Ali’s experience of colonialism in India combined with his profound sense of history makes him uniquely capable of providing a glimpse of Afghanistan during a period of social and cultural transformation. His portrayal of the Afghan identity in confrontation with external colonial forces and internal upheaval is not only invigorating but also challenging because it is not directed at demystification or categorization as in colonial texts aiming to comprehend the oriental. His colonised self-consciousness finds in the independent Afghan a cause to celebrate and thus allows us to explore his work as a postcolonial text. According to Justine D. Edwards and Rune Graulund, postcolonial travel writing “subverts both colonial claims to truth making, as well as the nexus between travel and domination” (Postcolonial Travel Writing: Critical Explorations, 3). Therefore, while a typical European travelogue like Robert Byron’s The Road to Oxiana (1937), written a few years after Ali’s visit provides an unabashed view of Afghanistan as a historical artefact requiring British protection, a colonised Indian’s account of Afghanistan hits out at the “nexus between travel and domination” and seeks to initiate a south-south dialogue inspired by the hope of regional collaboration.

Keywords: travel narrative, Afghanistan, colonialism, postcolonial text, Robert Byron

You might be interested in

1 2 3 4