Relevant bibliographies by topics / Bapsi Sidhwa

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Academic literature on the topic 'Bapsi Sidhwa'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Bapsi Sidhwa"

1

Ponmalar, SK. "The Theme of Partition in Bapsi Sidhwa's Ice Candy Man." Shanlax International Journal of English 8, no. 1 (2019): 71–73. http://dx.doi.org/10.34293/english.v8i1.1141.

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Bapsi Sidhwa in her novel, Ice CandyMan focuses on the theme of partition of India along with several other themes like the tragic tales of uprooting wonderful dreams of Ranna and Ayah, enormous vacuity of lifeless air that fills the streets of Lahore and the betrayal of human trust. They are all linked with partition phenomenon which left a permanent scar on the memory of India's history. Though everyone seems to be affected by both political and religious horros, very few writers have written about it. Bapsi Sidhwa is one among them. With her artistic vision, she sweeps into a historically significant event of the division of nation.
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2

Lodhi, Muhammad Arfan, Faiza Khalid, Iqbal Mehmood, Faiz Rasool, Farhan Akbar, and Muhammad Amir Kamal. "Social and Physical Entrapments of Women in Bapsi Sidhwa’s Ice-Candy Man and Arundhati Roy’s The God of Small Things." English Language and Literature Studies 9, no. 2 (2019): 57. http://dx.doi.org/10.5539/ells.v9n2p57.

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The study highlights the social and physical entrapments of women in two novels: Bapsi Sidhwa’s Ice-Candy Man and Arundhati Roy’s The God of Small Things. Both writers belong to two different cultures. Bapsi Sidhwa is a Punjabi, Parsi, Pakistani novelist while Arundhati Roy is an Indian Author. Regardless of their different cultures, they have discussed similar issues faced by women of their contemporary societies. This case study adopted exploratory research framework to gather data and undergo its content analysis from the text of two selected novels. The findings explicate that woman exploitation can be observed evidently among different societies irrespective of any culture, religion, caste or creed. In both novels, women are represented as shallow creatures and they are utterly victimized physically as well as emotionally. They are raped and beaten brutally by males being their unbidden masters. Sidhwa and Roy enlighten the plight of women in their novels, though slight elements of unjust maltreatment of the male characters can also be seen at many places.
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3

Puneet Singh. "Sacks of Mutilated Breasts: Violence against Women and Body Politics in Partition Literature." Creative Launcher 6, no. 3 (2021): 66–71. http://dx.doi.org/10.53032/tcl.2021.6.3.13.

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South Asian writers’ partition accounts attest that women from all backgrounds of culture and religion were the worst victims of the newly-created India-Pakistan border of 1947. Women's bodies were kidnapped, stripped naked, raped, disfigured (their breasts were cut off), engraved with religious symbols, and slain before being transported in train carriages to the "other" side of the border. Taking the romantic example of Bapsi Sidhwa’s Ice Candy Man/Cracking India (1988), we will look at the symbol of women's breasts, following on the theories of Judith Butler and Michel Foucault on power and governmentality, framed within the rhetoric of Mother India, where violence against women is a commonplace Bapsis Sidhwa’s theory of women's rights. As a result, we will examine the passage of sacks of damaged breasts as a horrible testimony to Partition history and as a metaphor for border crossing, undermining the nation's stability. In light of Julia Kristen's abjection theory, we will view female corpses with damaged breasts as abject who push the bounds of normative society, exposing its frailty. Finally, the novel covered in this document can be seen both as a disgraceful condemnation of a brutal de/colonial process and as a witch for feminist resistance (doing Herstory). The agony and grief of mutilated women's bodies are depicted in authors such as Bapsi Sidhwa to reveal the dialectic of history/body (the trajectory of the violation of women's rights).
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4

Whitehead, Andrew. "Bapsi Sidhwa and Urvashi Butalia Discuss the Partition of India." History Workshop Journal 50, no. 1 (2000): 230–38. http://dx.doi.org/10.1093/hwj/2000.50.230.

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5

Mariam, Maira, Sana Baig, and Fareeha Javed. "A Critical Discourse Analysis of 'An American Brat' by Bapsi Sidhwa." Global Language Review VI, no. I (2021): 61–69. http://dx.doi.org/10.31703/glr.2021(vi-i).07.

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This paper presents a critical discourse analysis of the novel written by an eminent 21st-century female writer Bapsi Sidhwa. The text was analyzed critically in the backdrop of the checklist developed by the researcher. The findings reveal that a significantly tough language has been used for the depiction of men and women. Roles and responsibilities given to them have been found to be assigned on the basis of gender discrimination. Therefore, it is contended that colonialism still prevails in the form of social, economic and educational disparities in the third world countries as compared to the developed and privileged countries. Similarly, power structures have been found functional in every sphere of life and are decided by the institutions which hold the utmost power. Racism has also been revealed in the text. Ethnicity, race, color, culture and language have been found superiority over all the other ethnicities, cultures, races and languages.
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6

GC, Saroj. "The Equation of Iconography of Cracking Bodies in Bapsi Sidhwa's Cracking India." Literary Studies 33 (March 31, 2020): 93–101. http://dx.doi.org/10.3126/litstud.v33i0.38064.

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Lenny, a young Parsi girl coming of age at the time of Partition and independence, in Sidhwa’s novel Cracking India, says “there is no space for us in Queen’s Garden”. She basically refers to the literal space— the lack of space to accommodate herself and other friends in the Garden, for it is being crowded because of increasing communal violence. However, Lenny’s literality of questioning the space cannot be taken for granted. This voice of the innocent, Lenny triggers prominent thematic content in social-cultural context of Partition. If her search for space is seen in broad spectrum of Partition violence of 1947 in India, she as representative of both female figures and the neutral and the marginalized people, is seeking more significant space in context of Partition violence; it is a search for the space for female in nationalist discourse. The search, by the same token, corresponds with the objective and the rhetoric of Sidhwa— questioning the historiography of nationalist discourse. Looking from this perspective, space is not just literal one. Additionally, the “Queen’s Garden” becomes metonymic manifestation of the project of empire, or cultural mission of colonization, and the subsequent consequence, nationalism.
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7

Mourya, Sapna. "Diminishing Voice and Consciousness: An Analysis of the Fiction of Bapsi Sidhwa." DJ Journal of English Language and Literature 1, no. 2 (2016): 32–35. http://dx.doi.org/10.18831/djeng.org/2016021006.

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8

Singh, Sujala. "Postcolonial children representing the nation in Arundhati Roy, Bapsi Sidhwa and Shyaaa Selvadurai." Wasafiri 19, no. 41 (2004): 13–18. http://dx.doi.org/10.1080/02690050408589879.

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9

Shamim Akhter. "Towards Cultural Clash and Hybridity, An Analysis of Bapsi Sidhwa’s An American Brat." sjesr 3, no. 3 (2020): 22–34. http://dx.doi.org/10.36902/sjesr-vol3-iss3-2020(22-34).

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Culture is a way of life that takes into its jurisdiction to all experiences of life and social associations. Culture receives variations over time. Similarly, the culture of the Sub-continent is altered with the arrival of the English here. That is why the Literature of this area is called Post-colonial literature. Cross-Culturalism is also a part of post-colonial theory. Its chief aim is to analyze the morphological organization which takes to the origination of the conception. Culturalism indicates the tractability of the self to absorb in the transmission and understanding of spoken and written indications and to react accurately and suitably. The ‘cross’ in cross-culturalism designates the crossing of the remotest barriers from one make to another. It also reveals the constant growth of borders. People migrate to other countries, lead life by absorbing the culture of that country but they experience problems regarding language and their own culture. The undertaken research aims to reveal the cross-cultural experiences keeping in view Sidhwa’s (1994) ‘An American Brat’. Sidhwa (1994), explores the differences of cultures that existed between East and West by introducing the character of Feroza. Feroza belongs to Pakistan and goes to America. She finds the culture of America different from the culture of her native country. The undertaken research is an attempt to reveal the description of cultural differences and hybridity through the character of Feroza.
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10

Khan, Hashim, Khalid Azim Khan, and Muhammad Umer. "A Psychological Exegesis of Displacement in Bapsi Sidhwa's Novel The Bride: A Sociolinguistic Analysis." Global Social Sciences Review VI, no. I (2021): 373–82. http://dx.doi.org/10.31703/gssr.2021(vi-i).38.

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This reports the psychological perspective of displacement in the English Pakistani novel The Bride (also published as The Pakistani Bride), written by a Pakistani American novelist Bapsi Sidhwa. This is a sociolinguistic study with the employment of Close Reading (CR) and Systematic Functional Linguistics (SFL). The study involves social, psychological and semantic aspects with the aim to present the psychological impact of displacement on the personal and social life of the characters. Close-Reading provides the analysis of the novel and the author. Systematic Functional Linguistics provides context and semantics as tools to analyze the historical and conceptual background of the novel. The findings of the study present mixed results, supporting the supposition that displacement affects the psychological state of the characters and disturbs their individual functionality. It partially proves that their social functionality is equally affected. It may be because people are more careful in playing their social roles.
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