I declare that the thesis entitled "Metaphors in Jhumpa Lahiri's Fiction: A Study" is the result of the investigation carried out by me in the Department of Humanities and Social Sciences, Indian Institute of Technology Guwahati, under the supervision of Dr Liza Das and Prof. Krishna Barua. Metaphors in Jhumpa Lahiri's Fiction: A Study" for the degree of Doctor of Philosophy at the Indian Institute of Technology Guwahati. At this point, I would also like to express my sincere thanks to my co-supervisor Prof.
I would like to thank the suggestions and ideas given by the members of my doctoral committee - prof. Among the staff of the department I would like to thank Surendra Mohan Saloi, Dasarath Das, Tilak Das and Afzal Hussain. I would also like to thank the library staff at IIT Guwahati and Central Library, North Eastern Hill University, Shillong, Jawaharlal Nehru University Library, Delhi University Library, Jamia Millia University Library, for extending cooperation and any assistance.
Among my family members, I would like to acknowledge and express my heartfelt gratitude to my loving wife Malabika Dihingia Baruah for her unrelenting support and encouragement throughout. My thanks to my brother-in-law Alakesh (Bhaiti) and my sisters-in-law Arundhati, Monalisha and Madhusmita (Dihingia Baruahs all) for their good wishes throughout these years.
Introduction: The Metaphorical Imperative, Jhumpa Lahiri and Writing
In "The Third and Last Continent" (in Interpreter of Maladies), the title of the story is a key metaphor. With the publication of The Namesake, Jhumpa Lahiri carved out an important space in the narrative of diasporic existence. For example, in a sentence like "The chairman plowed the debate", the word "ploughed" could be taken as the focus of the metaphor, and the rest of the sentence as the "frame".
It has an initial connection to the prominent garden metaphor in the collection's title story. The realism that Mandira Sen ascribes here to Jhumpa Lahiri's depiction of Bengali-American lives is also intertwined with the allegorical depiction she associates with Nikolai Gogol's classic story "The Overcoat." In her article "Gogol's Namesake: Identity and Relationships in Jhumpa Lahiri's Namesake" (2007), Judith Caesar puts it succinctly: "And as in Nikolai Gogol's short story, the significance of Lahiri's novel seems to lie not so much in plot as in style" (114). .
Incidentally, moments before the accident he was reading his favorite story "The Overcoat" by Nikolai Gogol. But there is a subtle shade of "The Overcoat" in the way Jhumpa Lahiri plays with these names too. Furthermore, a sense of the aesthetic and intellectual inner order that Ashoke covered with his overcoat is also indicated by his sudden discovery of his fourteenth birthday present from his father - The Collected Stories of Nikolai Gogol.
Names Can Wait': The Misnaming of the South Asian Diaspora in Theory and Practice." South Asian Review XXVIII.
Love begins with a Metaphor”: Mapping Relationships
Pirzada gave me his coat because it was my job to hang it on the shelf at the bottom of the stairs. Slowly as his son takes center stage in the story, Ashoke recedes into the 'background'. Entering his father's apartment, Gogol finds the apartment and the kitchen counter practically empty.
The question arises, if the relationship between father and son is properly interpreted through the metaphor of the cloak in the novel, what implications does this have for. So here we can see the inferential transfer of the metaphor THE COAT HAS A NEW PLAINTIFF in the form of its transfer to the son. Shortly after completing an incredible journey across three continents narrated by the narrator of "The Third and Last Continent".
The metaphorical visits to the Netherlands of the Etruscans cast the shadow of death on the couple's fate. Here the c metaphors are AKASH (THE HEAVEN) THE PROXIMITY OF THE SELF WITH THE LOVER while PATAL (NETHERSCAPE) IS THE PROXIMITY OF THE OTHER WITH THE LOVER. In the title story of Unaccustomed Earth, the relationship between a daughter and a father is explored under the looming dark shadows of the mother's death.
The story begins with a father's account of his inadequacy in "the craft of writing" - the short, impersonal lines he writes to his daughter on postcards vividly express the blurring of the relationship. He has seen the house in the photo, he knows the name of the street from his parents. It is, therefore, the circumstances and situations that changed the mood and added color to the emotions of the residents.
But for her son, the 'solidity' of his room is the Gothic Architecture of the Yale campus and feels rooted in campus life. It is the aura of both the interior and exterior of this house that smoothes Gogol's temporary integration into the lives of the Ratliffs. In fact, the author plays with the title of the story itself as to whether the dissonance in the relationship would be of a temporary/permanent nature.
Instead, she said she let him speak to the head of the department without telling him he had "a bit of pate" in his chin. On the other hand, Himadri Lahiri in "The Interpreter of Illness" focuses on "lack of communication" as a source of illness in the family space.
At Water’s Edge: Metaphors of Land and Waterscapes
The interior of the house is characterized not only by the lack of light, but also by a break in the communication channel. between husband and wife. The arrival of Pranab's tempestuous and charismatic character is indicative of how future incidents unfold in the story:. Further, the metaphorical "storm-sunset" line is also linked to the story's title.
The 'nest' that is damaged is ultimately due to the strong blowing of the metaphorical 'snowstorm'. Although Ashoke and Gogol Ganguly do not pray for snowfall, Hema later recalled in the novella part of the Unusual Earth, aptly titled 'Hema and Kaushik'. Crucial to the intersection of the Hema and Kaushik trails is this scene of snowfall.
Once Upon a Lifetime" - the first story of a trilogy that depicts the tragic saga of this young, second-generation Bengali-American couple. This particular description is integral to understanding the intimate voice with which Dev almost hypnotizes Miranda. Her present is dried up, without the water of love, devotion and spiritual depth.
Charles functions and functions as a cultural backdrop to the Cambridge locale at the center of Jhumpa Lahiri's fictional picture. Buriganga and Subarnarekha come as a backdrop to the fateful train accident in 1961 that nearly killed Ashoke. The poignancy is sharper, piercing almost biting like the cold dark water of the sea.
He held onto the edge of the boat, swinging his legs to the side, sitting down. After the spell of the onward journey to the farm ends, Gogol becomes familiar with the patterns of life there. But it's the charm of farm life with Maxine that keeps him temporarily attached to the place.
With all the rain, a man swam in the dark gray water, quite far away. Between the interstices of the two gardens the shadow of death looms large over the new garden.
