We also thank the staff of Central Library, IITG for their help and cooperation. He draws attention to the historical importance of the opium trade in the success of Suchitra Mathur brings a feminine perspective to this debate and considers that the representation of counter-.
Pico Iyer's review of The Glass Palace, which appeared in The New York Review of Books, still remains a definitive piece of criticism of the novel. Rohini Mokashi-Punekar finds that in the novel there is a profound imbalance between the aesthetics of the writing and the politics of the text. Dixon's assessment of Ghosh's work (through In An Antique Land) in the light of developments in anthropology, 'global theory' and the Subaltern Studies project is one of the most comprehensive.
Chapter 2: Negotiating a Framework: A Contemporary Perspective on Narrative
This section contains brief summaries of the analysis in all subsequent chapters of this assignment. Another important ideological assumption concerns the "nature" of narrative itself: in narratological enterprises, narrative has been assumed as an "ordered," "coherent," and "transparent" whole, capable of representing the structures of something out there. The reading process is therefore reduced to a kind of discovery process, as the reader is invited to abstract and discover the embedded structures in the narrative according to the main code that has already been formed.
The diversification of narratives through history and ethnography then progressed through the alliance of "nation" and narrative, as articulated in the critical perspectives of Benedict Anderson and Homi Bhabha and the creative practices of novelists such as Salman Rushdie and Amitav Ghosh, among others. As a theoretical and critical practice, postcolonialism developed its own reading practices that consisted not only of rewriting, but also of reclaiming subjectivities, subject positions, and histories. While the narrative has initiated its own processes of reading, it has come to be seen as its own reading of what has gone before, it can be a narrative to which it may be writing back.
Narrative of Memory
Narratives of Science
Ross's status as a pioneering scientist studying the malaria parasite is a result of the Western epistemological tradition that sees knowledge as the sole preserve of an autonomous individual subject. The decentralization of the category of discovery and the construction of the first community as a repository of knowledge are then seen as an epistemological break. The highlight of the novel is the way in which Ghosh plays with the science fiction genre.
The ideological demands of the science fiction genre, such as shiny technology, premise, and forward-looking progressive outlook, are parodied in such a way as to essentially undermine the status of science in science fiction. The subversive use of the science fiction genre is closely related to the recovery of the agency of subservient domestic laboratory assistants like Lutchman, whose contributions to Ross's malaria research were erased by the scientist. Absence' and 'silence', two negative terms of the dominant discourse, are duly empowered to narrate and thereby reclaim subordinate and domestic contributions in the development of science.
Historical Narratives
Therefore, Ghosh's novel uses the narrative strategy of spreading knowledge across a community and thereby undermining the idea of an independent and independent subject. By (re)visiting the historical impasses of regions such as Burma from its last days of monarchy and impending British conquest to the current military state of Myanmar via the largely unrepresented Southeast Asian theater of World War II, Ghosh in The Glass Palace chooses the nineteenth-century Victorian realism as the narrative device. This chapter argues that the narrative is linked to an epic narrative mode, and the realism of this historical narrative is perhaps forced to sacrifice the internalization of the characters' lived experience at the expense of an omniscient narrative voice that is detached, distanced and authoritative. .
The critique of British colonialism is not articulated through the internal experiences of the characters, but by tracing the contours of larger historical forces. The novel's evocation of the sights and sounds of a bygone era is powerful and fits reasonably well with any historical narrative by Walter Scott for example. Marked by the lack of a detached epic narrative voice, this novel can be said to be highly 'dialogic' and 'polyphonic' as the characters have their own independent subject positions.
Ecological Narrative
Conclusion
Negotiating a Framework: A Contemporary Perspective on Narrative
Moreover, the analysis in S/Z shifts the focus from the structure of the text in question to the active role of the reader in the production of meaning. Voloshinov, was largely a consequence of the censorship in force in post-revolutionary totalitarian Russia. This heteroglot concrete conception of the world is a convenient refutation of the abstractism inherent in the Saussurean view of linguistics.
It is important to remember that for Bakhtin the authorial voice is only one of the subjective voices in the text. He argues that "fiction" (literature) is traditionally placed between the two poles. In the novel, however, the only link between the two is the personality of the plantation owner, Sir Thomas.
The Narrative of Memory
Narratives of Science
This section argues that Ghosh's text focuses on an epistemological break that consists in decentralizing the categories of knowledge and discovery. Raman had conducted his "quiet researches in the dilapidated laboratories of the Association for the Advancement of Science" (CR 41). The evocation of colonial Calcutta in the early decades of the twentieth century is a high point of the novel and one that is closely related to the depiction of science and reason.
Money as he declares war on the hegemony of the capitalist mode of production symbolized in the Western oil companies of al-Ghazira. A firm believer in the universality of science and reason, Balaram argues that it is impossible to write a biography of the discovery of reason. This is a highly significant moment in the narrative, with immense potential for an incisive critique of the appropriation of science in colonized India.
In the first section of the novel, there are stories such as the history of weaving and the loom. Even Pasteur's inoculation of the hapless Joseph Meister is presented in the text as a story. It seemed to be the only alternative narrative technique available to postcolonial novelists, especially those writing in the language of the former colonizers.
This parallelism does not necessarily involve a conflation of the categories of the scientist and the writer. The motif of discovery, which is so strong in the narrative, is not seen to be solely the reservation of the Westerner. In the context of the prevailing Indian religious practices, Tantric cults organized themselves in opposition to the hierarchical Brahmin tradition.
Thus, Ghosh offers his reading of another in the science fiction genre. The narrative of the Calcutta Chromosome involves uncertainty and indeterminacy in both content and form. This section will conclude with a discussion of the Calcutta Chromosome from the perspective of subaltern historiography.
Historical Narratives
One of the reasons for this may be that the story included in the previous novels is a given. But he is far from a typical colonizer and does not play an important role in the unfolding of the action. This was commensurate with the exploitative commercial character of the colonial enterprise that systematically exploited the natural resources in the colony.
It is a feature of the narrative that connections are made through characters placed in strategic places. There is only a single time frame along which the novel's narrative unfolds in a linear fashion. Suddenly, mid-narration, we are told that Dolly "missed her sketchbook" (196).
Precision aimed at verisimilitude, which is a feature of the narrative of The Glass Palace, is also present in Sea of Poppies. The details of descriptions and the nuggets of information are here made an integral part of the narrative. Some of the ways in which this is manifested, particularly in relation to the use of realism, have been discussed in the preceding section.
Yet the details of their lives in Mandalay and Ratnagiri are not significant in the overall scheme of the novel. It has complete command and control over the story, and everything in the story is at its beck and call. The point is that Rajkumar does not exist in the story as an independent subject voice; he is introduced as the object of the narrative voice.
Seen from a Bakhtinian perspective, the story of The Glass Palace is 'monological' rather than 'dialogical'.
Ecological Narrative
The evocation of the Tidal Land in the opening pages – in terms of its utter hostility to the presence of human beings – is somewhat confusing. Naturally, Ghosh's text raises the fundamental and somewhat spiritual question of the relationship that exists between man and nature. The discussion of the theoretical issues is particularly relevant to the analysis of Ghosh's novel that follows in the following paragraphs.
While both sections alternate with an analysis of structure and narrative strategy, section IV is devoted to examining the narrative strategy used in the novel. The editors of The Ecocriticism Reader define ecocriticism this way: “Simply put, ecocriticism is the study of the relationship between literature and the physical environment. It is one of the great false ideas of anthropocentric thinking (and thus one of the cosmic ironies) that society is complex while nature is simple.
At this crucial juncture it becomes necessary to discuss the nature of representation in the context of the aesthetics of realism. The following sections will analyze Ghosh's novel in light of the discussion above and weigh it as an example of green postcolonialism. While Piya is on the water, Kanai, the other outsider, is on the island of Lusibari trying to make sense of the material in the diary his dead uncle left him.
Fokir is exposed to the fury of the storm and is fatally struck by a large shell. Eking out an existence on the fringes of the nation, Fokir belongs to the category of "ecosystems. As a resident of the tideland, Fokir's way of life poses no threat to his environment, nor to other species.
Having said that, it must be remembered that Fokir's active involvement in the burning of the tiger foregrounds a completely different facet.
