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Text, Reader and Metaphor: Exploring Links between ‘Disparate Domains’ in Some Novels of Charles Dickens

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Ralla Guha Niyogi, Basanti Devi College, Kolkata

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Abstract

One of the literary devices often used in a creative work is the metaphor. In my paper, I aim to analyze the reasons why a novel uses metaphors at all, the importance of the reader’s response to the text and how the use of metaphorical language creates a specific world within the text, thereby imparting a special significance to the novel as an artistic whole. I have referred to a few novels of Charles Dickens, relating them to the phenomenological theory of art and the Reader – Response Theory. I have further attempted to explore linguistic views and theories by Roman Ingarden, Wolfgang Iser, Jauss and Saussure among others, relating their views to the use of metaphor in literary works in general, and to some of Dickens’s novels in particular. I have shown how Dickens relates the metaphor of the machine as signifying mechanical human responses in the ‘disparate domains’ of the school and the home. Indeed, the metaphor serves as a bridge between the text and the reader, linking hitherto unrelated facts and endowing a literary work with an evocative quality that enhances its artistic value. Keep Reading

Exploring Dickens through a Director’s Lens: a Study of the Cinematic Presentation of A Tale of Two Cities

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Gatha Sharma, Shiv Nadar University, Gautam Budh Nagar, Uttar Pradesh

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 An interesting thing always noticed by avid movie-buffs is when one watches a movie made on a novel, automatically one starts identifying characters of the novel with the actors who have played those characters. Actors give new identity and life to the characters hitherto without any proper face or shape, enclosed in the black alphabets and yellow pages of the books. This paper is an attempt to see how the complex art of Charles Dickens find expression through cinema. A Tale of Two Cities is one of the two historical novels written by Charles Dickens. Attempting historical fiction is a tough task. Author has to shift back mentally to those ages and keep track of not only historical but also political, social, economic and spiritual environment of those times. Historically, A Tale of Two Cities has tried to capture extremely volatile years of French Revolution. Impacts of French Revolution were far-reaching and had been felt for many decades afterwards by Europe and later became an inspiration to many freedom movements in Asia, Africa and Russia. Praise to Charles Dickens for attempting such a story and also to all those directors who tried to portray such a razzmatazz on the big screen. Keep Reading

Theatre(s) of Resistance: Those ‘Other’ Performances in Simulation

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Sambuddha Ghosh, Jadavpur University, Kolkata, India

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 Abstract

The word “performance”[i] is one laden with immense—if sometimes only theoretical or even metaphysical—possibilities which stretch the known boundaries of conventional representation. “Performances” can be mimetic, and in certain cases, ones based on simulation. Ideologically motivated theatre for activism is too common for our own times, but the ramifications of present global power relations demand ephemeral forms of protest, opposition and self-expression. This article attempts to present a relatively uncharted terrain of performance studies: the Virtual Theatre, its Siblings and undertakes an enquiry into the ethos of simulated performance and the implications thereof that challenge essentialist conceptions of the Self and Personality. In addition, it also tries to unearth the hidden possibilities of such types of performance which might prove to be influential forms of ‘affirmative action’ for the future,  in trying to arrest the unrestricted growth of forces that assist globalization and its resulting cultural legacy. Keep Reading

‘A Skin of Ink’: The Tattooist and the Body in Performance

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Suryendu Chakraborty, Krishnagar Women’s College, West Bengal, India

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Abstract

The body is the link between us and the outside world, and its creation and exhibition shapes its performance and presentation. This paper using Peter Burger’s directed movie The Tattooist as a referential frame, analyses relational, dynamic and procedural transformation of the body through tattooing. In the film tattoo artist Jake Sawyer, unknowingly plays a role in releasing a deadly spirit as he cuts himself with ‘au ta (Samoan tattoo instrument) in his attempt to learn pe’a, the Samoan tradition of tattooing. In the movie not only cultures overlap but also distinctions are blurred between art and life and also after-life. The film amazingly explores varied meaning of the human skin, and unravels the spectacle of the tattooed body. This paper explores the psyche of tattooing from the perspective of fashioning oneself both within-and-out the norm – a type of ritual-performance on the body, transforming it simultaneously into actual and contrived, corporeal and celluloid, palpable and non-physical (feigned or eidetic). This study draws on New Zealand tradition about tattoos and focuses on tattooing as a performance, primarily seeking to elucidate on how we might conceive the performance of tattooed identity among individuals. Keep Reading

Ravaged Bodies, Embodied Performance: Performativity in Dattani’s Brief Candle

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Samipendra Banerjee, University of Gour Banga, Malda, India

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Abstract

Brief Candle, Mahesh Dattani’s latest play concerns itself with the plight of cancer patients but in the process takes important strides in performativity. This paper is an attempt to evaluate performance and performativity within the theatrical space through an analysis of the centrally dominant stage prop, the mask or ‘Face of Cancer’ and performing bodies. Touching upon the genealogy of Performance Studies as a discipline and its intricate and fraught relationship with the theatre I seek to explore performative elements in the play. I also seek to look at the ‘derogated’, cancerous body as a charged site of performativity and argue that bio-medical and technological intervention crucially transforms the human body. The play could also be read as a space that explores the post-human body and its performative possibilities. Keep Reading

Ajitesh Bandopadhay: In the Neighbourhood of Liminality

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Rajdeep Konar, Jawaharlal Nehru University, New Delhi, India

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Abstract

In my essay I would like to investigate the shift of paradigms in the relationship between theatre and politics that director, playwright and actor Ajitesh Bandopadhay (1933-83) was bringing into Bengali theatre. I would like to analyze how in the field of theater he was trying to form a threshold space: a threshold where politics and ethics, community and the individual, global and local can exist together as equals not imparting the hegemony of one on the other. How Ajitesh strove to conceive a theatre which puts forth itself as an analytical presence of life and society unmediated by an ideological or ethical regime. I would like to argue that it is in such a liminal presence in theatre, politics and the world; that the key to our future community of equality lie. This would also be an attempt at reclaiming the legacy of Ajitesh, whose influence on Bengali theatre has been hugely underplayed by the rather scanty posthumous attention being paid to his work. Keep Reading

“Acrobating between Tradition and Modern”: The Roots Movement and Theatre’s Negotiation with Modernity in India

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Anuparna Mukherjee, English and Foreign Languages University, Hyderabad

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Abstract

When playwrights like Girish Karnad joined the stage after the nation’s independence in 1947, the Indian theatre was suffering from acute identity crises being torn between its ancient cultural past and its more recent colonial legacy, which gave birth to hybrid dramatic forms. Several theatre personalities at that time articulated the aspirations of a newly independent nation through their attempts to decolonize the aesthetics of modern Indian theatre by retracing its roots in the repository of India’s classical and folk traditions.  In the light of these developments my paper aims to look at some of the diverse indigenous forms that had been deployed with much success in plays like Karnad’s Hayavadana or Tanvir’s Charandas Chor, thereby significantly contributing to the larger project of decolonization after independence. At the same time the paper also wishes to interrogate whether this ambivalent process of Indianization, sometimes loosely brought under the umbrella of ‘Roots Movement’, is quintessentially ‘anti-modern’, or whether it is actually an attempt to evolve a discourse of an ‘alternate modernity’ by subverting some of the paradigms of its European counterpart which are actually a by-product of both capitalism and imperialism in the West. Keep Reading

“The Times They Are A-Changin’”: Bob Dylan and Urban Poetry

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Sudev Pratim Basu, Visva-Bharati, Santiniketan

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To begin with, it is really a daunting task for someone to attempt to map, categorise and pin down Dylan’s poems and songs to any one particular socio-cultural matrix. The problem intensifies when one tries to separate his poems from his songs, and vice versa. They are symbiotic and we cannot ‘read’ one without reference to the other. Which one is the ‘center’ and which is the ‘periphery’ is difficult to ascertain, especially with such a chameleon-esque poet-singer-song-writer like Dylan. Throughout his career as a cult-guru of marginalised voices who ‘abandoned’ the purist path for the lure of ‘electronica’ and the mainstream, Dylan has continuously re-defined himself and his cultural alignments almost as if to challenge the Dylan-baiters; and, in the process, has achieved a near immortal ‘parallel’ status which is almost exclusively his own.

Over the years Dylan has tacitly encouraged myths and anecdotes about his unconventional lyrical style – of writing and singing – and at the same time, despite the almost hysterical fan following, he has remained an intensely private and insulated individual. Guarding his privacy and poetical/musical copyrights like the proverbial dragon, Dylan did not hesitate to grant others his ‘words’ when he thought it fit, the best examples being his songs “Blowin’ In The Wind”, “Knockin’ On Heaven’s Door”, and “All Along The Watchtower”, made famous by Peter, Paul and Mary (Peter, Paul & Mary), Eric Clapton (Clapton), and Jimi Hendrix (Hendrix) respectively. A shrewd businessman with an uncanny nose for the market and the marketable, Dylan has used this skill to promote the greatest eccentric poet-singer of our times – himself! Keep Reading

From New Elocution to New Criticism and the Dismissal of Vachel Lindsay

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Brian McAllister, Albany State University, Georgia, USA

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Abstract

Vachel Lindsay’s fame was made, and ultimately ruined, by his performances of his “Higher Vaudeville” poems.  This essay discusses the performance of the Higher Vaudeville in light of ideas of the New Elocution movement of the early twentieth century which influenced Lindsay’s technique.  Lindsay conceived these poems as elements of a performance medium.  Ironically, some of the New Elocution ideas were indurated by the New Criticism, which discounted performance as constitutive of poetic meaning and led to Lindsay’s critical dismissal. A consideration of the Higher Vaudeville as performance argues that Lindsay’s achievement warrants critical reassessment. Keep Reading

Performance as Protest: Thumri and Tawaif’s Quest for Artistic Autonomy

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Shramana Das Purkayasth, Vijaygarh Jyotish Ray College, Kolkata, India

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Abstract

Indian cultural history testifies to the intimate bond the tawaifs had for centuries with the performing arts. Be it the pre-Mughal folk culture of rural India or the highly sophisticated culture of classical music in the Mughal courts, the tawaifs had always remained at the focal point of it. However conservative social paradigm never allowed them to belong to the mainstream Indian society. Concepts of honour, chastity and occupational propriety, with which patriarchy regulates a woman’s individual choices, constrained the tawaif to inhabit a limited space, isolated and solitary, alluring, yet infamous. In the present paper, I propose to explore how thumri reflects the tawaif’s own consciousness of her contradictory status as an outcast as well as an artist, indispensable to India’s musical heritage. Through a detailed structural analysis of the genre, I would discuss how the textual world of thumri with its distinctive formal and performative peculiarities supplies the tawaif with a potentially subversive “action repertoire”, enabling the nautch-girl to voice her desperate demand for autonomy. Keep Reading