Forster's A Passage to India and Soueif's The Map of Love can both be read as critiques of British imperial administration in India and Egypt in the nineteenth and early twentieth centuries. In the novel, as Yousef Awad argues, 'the two interconnected stories of Anna and Isabel .
The Struggle for Identity and the Need for Documenting History in Junot Díaz’s The Brief Wondrous Life of Oscar Wao
Dominican-American Diasporic Identity Problems Related to In-betweenness and Categorisation Imposed on Individuals
3 Tim Lanzendörfer, 'The Wondrous History of the Dominican Republic in Junot Díaz's The Brief Wondrous Life of Oscar Wao', Multi-Ethnic Literature in the U.S.A. The struggle for identity and the need to document history in Junot Díaz' The Brief Wondrous Life of Oscar Wao.
Historical Memory and Documents and Dominican-American Identity
I know I've thrown a lot of fantasy and science fiction into the mix, but this is supposed to be a true account of The Brief Wondrous Life of Oscar Wao. Opening The Brief Wondrous Life of Oscar Wao with Derek Walcott's poem 'The Schooner Flight', Díaz emphasizes the heterogeneity of Caribbean diasporic identity.
Conclusion
The Marvelous History of the Dominican Republic in Junot Díaz’s The Brief Wondrous Life of Oscar Wao.’ Literature Multi-etnic of the U.S. Dictating Desire, Dictating Diaspora: Junot Díaz’s The Brief Wondrous Life of Oscar Wao as Themelore Romance.’ Literaturë bashkëkohore.
Translating Trauma in Khaled Hosseini’s The Kite Runner
Amir's Bildungsroman creates narrative space early in the novel to imagine Afghanistan as a complex nation with a history made up of more than its tragedies: we are given a glimpse of a "before." Contrary to Jefferess's reading of the novel as a reflection of Western 'expectations' of 'liberalism, democracy and multiculturalism', Hosseini. These events are only vaguely referenced, quietly unfolding in the background of the novel's primary narrative.
We are introduced to Hassan's attack through Amir's recounting of a childhood memory; the narrative distance enacted here precludes the possibility of over-identification by the Western reader. This crisis, both in the metafictional development of Amir's bildungsroman and in the allegorical presentation of Afghan national unrest, is woven into the structure of the novel as the narrative focus shifts away from Afghanistan and Amir jumps forward several years to his and Bab's emigration to the West. Because of the developmental stagnation resulting from the trauma, Amir's emigration to the West does not represent the turning point in his bildungsroman that the reader might expect.
Wahid, confronting what is ostensibly the metafictional purpose of The Kite Runner, suggests that Amir. Amir's sheepishness about the subject of his writing stands out here when we consider how important storytelling was to him at the beginning of the novel. The explicit placement of the novel's resolution in this location is problematic because it is dependent on the Western context for its realization.
Revisiting History and Reconstructing New Forms of Belonging and Identity in Kamila Shamsie’s Salt and Saffron
Aliya revisits the family archives to check the authenticity of the claims of family superiority and nobility. Shamsie uses the epistolary mode, subplots, dialogues, discussions and flashbacks to tell the story of Dard-e-Dils. Instead, the head of the Dard-e-Dil family was only a landlord and his land was not large enough to be a state or a kingdom.
The role of the Dard-e-Dil family during the Rebellion or the first War of Independence (1857) is discussed in the novel, laced with heavy undercurrents of sarcasm and irony. Aliya juxtaposes this disloyalty of the Dard-e-Dils with another forgotten story of loyalty and sacrifice within the Dard-e-Dil family. The story of three brothers is related to the division of the Dard-e-Dil family during the Partition, when half of the family members remained in India and the other half migrated to Pakistan.
She is confused by the deeply internalized yet strangely unknown past of the Dard-e-Dil family. Interestingly, the novel ends with a moment of reconciliation between the Indian and Pakistani sides of the Dard-e-Dil family. Revision of family myths and prejudices brings relief of tension in the family.
Authorship and Generative Embodiment in Bahi ṇāī ’s Songs 1
Rāṣṭrīya kīrtan became popular in the urban counterparts of late nineteenth-century Asoḍā, the Bahiṇāī agricultural village in the Khāndeś district of Maharashtra. In the Vārkarī tradition, Bahiṇāī is not the only poet known to have been illiterate. Unlike mastaka, Bahiṇāī uses the word mana, translated as spirit in the context of movement, mobility and exploration in surrounding landscapes.
Houses and the outer landscape are porous, as Bahiṇāī alludes to in the following ovī. See Susan Starr, 'The Sacred in the Profane' in Priestess Mother Sacred Sister: Religions Dominated by Women (New York: Oxford University Press. This incredibly tedious task is done by pairs of women who sit on the floor first thing in the morning.
Unlike kīrtan – whether in the form of a formal event as in Rāṣṭrīya kīrtan, or an informal gathering as in Vārkarī kīrtan, Bahiṇāī songs are sung while women are doing hard physical work. That is to say, ovyā is written in the midst of women's unavoidable living conditions: daily labor. In the doldrums of everyday routines, joy and sadness are never distinguishable, and the body knows this all too well.
Works Cited
Tread carefully, dear child, Don't rush and slip like that, After all, I am a rock on the road. Divining an Author: The Idea of Authorship in an Indian Religious Tradition.' History of Religions.
The Power of Nothing(s)
Parahumanity and Erasure in Indra Sinha’s Animal’s People
This reinterpretation may occur because of the many erasures that create the novel's unique setting, including those of Animal's humanity, the security of Khaufpur—Sinha's fictionalized Bhopal, and the responsibility of Kompani—the novel's stand-in for Union Carbide. This separation grows out of the anthropocentric thinking of the Enlightenment and the subsequent development of humanism as a very influential. The conflation of the 'natural body' with the 'artificial body' demonstrates the fragility inherent in any definition of humanity or personhood.
The need for a new formulation of individual subjectivity is evident in the dichotomy between animal and human, which is a conventional point of reference that fills the vacuum of identity created by the erasure of the chemical spill in Animal's People. His posthumanism 'calls a historical moment in which the decentering of man through his mixing in technical, medical,. However, by the time the narrative of the novel begins, it is well in place.
The potential of parahumanity also allows this construction: 'parahumanity, then, is not a suspension of the category of the human that involves non-choice. The primacy of the name 'animal' in the song has a double meaning that could refer to the name of the character or the definition of the living organism, both of which rely on a strict definition born of dichotomous thinking. The novel's narrative is incomplete, but it presents a portrait of personal recreation in the form of Animal's life, illustrating the power of literature to live beyond the page by placing itself at the heart of the matter without claiming to be all-encompassing.
Trans-Cultural Exchange’: Reframing Historical Metanarratives in Ishtiyaq Shukri’s The Silent Minaret
Moreover, the notion of the frame is itself an important point of consideration within the wider society at this current moment. Although Derrida's conception of the frame as explored in Truth in Painting (1987) is primarily concerned with its function in art, his emphasis on the importance of 'presenting the . Therefore, the protagonist represents a subject who examines the very structure of the frame to facilitate a process of.
Embedded in extracts from his thesis on the role of the VOC at the Cape are Issa's attempts to contest the supposedly concrete status of what Kerwin Lee Klein calls the historical. 25 For a comprehensive reading of how the figure of Sheikh Yusuf encapsulates the exploitation of Indians by the VOC. 31 For a detailed analysis of Issa's own disappearance, see Minesh Dass's discussion of the Silent Minaret in his PhD thesis, The Stranger in the House: Representations of Home and Hospitality in Three Post-Transitional African Novels of the South, diss.
In the first chapter of The Silent Minaret there is a conversation between Frances and her priest, Father Jerome, a Frenchman. Father Jerome's denial of the scriptural and geographical similarities between Islam and Christianity only makes the title of The Silent Minaret more appropriate. Disappearing Bodies: Visibility and Erasure, Mobility and Containment of the Third World Immigrant During the War on Terror.
Identity and Nation in Kazuo Ishiguro’s An Artist of the Floating World
Norman Page suggests that part of the solution was to create "an English dialogue quite different from contemporary speech in the English-speaking world in its extreme and sometimes archaic formality".4 Ishiguro explains that Ono. The smell reminds him of earlier war times: 'Not so long ago, that meant bombing and fire' (200). He argues that the master's art longs to "capture the fragile light of the lights of the pleasure world" (174), the "intangible and fleeting (beauty) of pleasure houses after darkness" and to transcend reality in its celebration of the "floating world." (150).
Ono's changing perceptions are also reflected in the story of the boy Hirayama, a retarded child who imitates patriotic speeches and old military songs. If on the one hand the warriors and sailors of the Emperor suffered scorn from society as they returned from a lost war, on the other hand their misery contributed to the amnesia of their suffering. Ono's belief in the ultranationalist discourse of a powerful nation has suddenly shifted to the new context of the liberal discourse of modernization, progress and internationalization.
The artist's shameful past is echoed in the repetition of the word "shame" that appears in his conversations such as when he declares, "Surely there is no great shame in mistakes made in the best of faith." Ono's identity is depicted with great authenticity: he is a Japanese painter trying to understand where he belongs in a society undergoing profound changes in the aftermath of the war. As he contemplates them from afar, his description reminds us of the motifs he painted at Mori-san's villa; the paintings that had given him a glimpse of the floating world of the past seem now transformed into an optimistic floating hope for the future of the next generation.
