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Journal articles on the topic 'Kipling'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Kamovnikova, Natalia. "“Once, Twice and Again!” Kipling’s Works in the Russian Twentieth Century Retranslations." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 1 (August 6, 2020): 140–56. http://dx.doi.org/10.21992/tc29484.

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The article traces the evolution of the image of Rudyard Kipling and of the role his works played in the Russian literature and culture. The study is performed on the material of Russian retranslations of Kipling’s poetry and of The Jungle Book, which followed different patterns and contributed differently and at times even dissonantly to the construction of the image of Kipling and his literary legacy in the Soviet Union. Strong competition of big independent publishers in the Russian Empire ensured multiple retranslations of The Jungle Book in order to cater for the demands of the wide readership. The change in political powers in 1917, the nationalization of print, and the focus on education worked towards the development of a very selective approach to the rendering of The Jungle Book, which eventually reduced itself to recycling a limited number of episodes. By contrast, Kipling’s poetry translation took the form of pioneering work, especially in the context of the ban on Kipling in the 1930 – 1970s. These two opposite vectors that Kipling’s translations took in the twentieth century had a tangible effect on the perception of Kipling as an author and inspired the Russian art of the second part of the twentieth century in the fields of literature, music, and film.

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2

Brearton, Fran. "Yeats, Dates, and Kipling: 1912, 1914, 1916." Modernist Cultures 13, no. 3 (August 2018): 305–22. http://dx.doi.org/10.3366/mod.2018.0214.

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This article proposes that W. B. Yeats's ‘Easter 1916’, intertextually linked to ‘September 1913’ and ‘Nineteen Hundred and Nineteen’, is also a subtle response to the political and sectarian quarrels of 1912–1914 as manifest in Rudyard Kipling's poems ‘Ulster (1912)’ and ‘The Covenant’. It examines the ways in which Kipling, and those in Ireland who reacted negatively to him, drew on the Easter sacrificial rhetoric later to be associated with the 1916 Rising, and illustrates how Yeats's poetry during and after the Rising may be read as implicitly engaged in a quarrel with Kipling's aesthetic. It reorientates perceptions of how and where the idea of sacrifice is deployed in Ireland (by Kipling and Yeats, but also by Tom Kettle and Padraic Pearse) and argues for the emergence of Yeats during the First World War as the figure who eclipses Kipling in terms of influence on, and significance to, the modernist generation.

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Habibullah, Md. "Kipling's Manipulation of Religions in Kim: A Document of his Imperialist Position." Victoriographies 13, no. 2 (July 2023): 192–209. http://dx.doi.org/10.3366/vic.2023.0492.

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Since the publication of Rudyard Kipling's (1865–1936) Kim (1901), most critics have agreed that the novel falls into the genre of colonial fiction. But they are divided into two groups – defenders and detractors – regarding Kipling's treatment of religions in the novel. The defenders celebrate his accomplishment and sympathy in depicting the devotion and attraction of the Victorian Era towards Buddhism. On the other hand, the detractors blame Kipling for fictionalising the confrontation between pragmatic Western rationality and Eastern mystical irrationality. Against this backdrop, this article revisits the novel with a postcolonial lens to study Kipling's dealings with religions in South-Asia in the latter half of the nineteenth century. It discovers that Kipling employs strategies of surveillance and knowledge of history and ethnography while handling religions in the novel. Such fictional employment of strategy and knowledge in characterising the South-Asian religions seems to have been colonially favourable in the contemporary socio-political context. Accordingly, this article argues that Kipling manipulates religions in his narrative for the sake of imperialism through surveillance of religions, consciousness of history, and ethnographic discourse that reflect his imperialist position.

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4

Ghosh, Bishnupriya. "THE COLONIAL POSTCARD: THE SPECTRAL/TELEPATHIC MODE IN CONAN DOYLE AND KIPLING." Victorian Literature and Culture 37, no. 2 (September 2009): 335–57. http://dx.doi.org/10.1017/s1060150309090226.

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Such Enlightenment, the narrator tellsus facetiously, is effected by an elastic religion known as the Simla Creed, alive at the edges of the British Empire where he, an unnamed Englishman, is stationed. An amalgam of occult practices, the creed stretched itself and embraced pieces of everything that the medicine-men of all ages have manufactured (63). So Rudyard Kipling mockingly observes in this satire of British Victorian forays into the marginal sciences of occultism, Spiritualism, and Mesmerism. An early Kipling tale, “The Sending of Dana Da” (1888) is one of Kiplings first engagements with the religions and philosophies of the East; it was published in theCivil and Military Gazette, a provincial newspaper for which Kipling regularly wrote. The infamous Dana Da – whose name, we are told, escapes every ethnological inscription, and who came from nowhere, with nothing in his hands (62) – dispatches a sending on the behalf of (and through) the Englishman. The recipient of this letter, (again) a Lone Sahib, is characteristically armed with scientific naturalism and Christian faith, and therefore refutes the possibilities of ectoplasmic infestation, unseen currents, and the fecund times of reincarnation. Kiplings eloquent exposition on a sending, despite his final rational explanation of this unseemly act, betrays his fascination with such forbidden epistemologies multiplying at the edges of Empire:

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5

Shehata, Abdel Kareem. "The "Demonic Other” and the Colonial Figures in Kipling’s The White Man’s Burden and Taher’s Sunset Oasis: A Comparative Study." International Journal of Language and Literary Studies 4, no. 4 (December 29, 2022): 12–26. http://dx.doi.org/10.36892/ijlls.v4i4.1066.

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In 1899, The British poet Rudyard Kipling directed his poem, The White Man’s Burden, to the United States on the occasion of the invasion of the Philippine Islands. In his poem, Kipling mainly encourages the States to occupy the Islands. Kipling also draws a portrait of the colonized peoples. In 2007, the Egyptian novelist Bahaa Taher published his novel (Waht Al Ghoroub), Sunset Oasis. In his novel, Taher presents a group of Egyptian, English, Irish and Circassian characters who live in Egypt during and after the Urabi Revolution (1882). The first aim of this paper is to show the main features of the picture of the colonized people in Kipling's poem. The second aim is to highlight the traits of the pictures of the characters, who are terribly influenced by the imperial project throughout the history in Taher's novel. Comparing Kipling's and Taher's pictures is another important aim of the paper. The paper will achieve these aims in the light of the postcolonial theory and the paper comes in two parts and a conclusion.

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6

Gadylshin, Timur Rifovich. "Features of R. Kipling’s Work in the Naturalist Prose of F. Norris." Litera, no. 10 (October 2022): 95–105. http://dx.doi.org/10.25136/2409-8698.2022.10.39055.

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The article focuses on estimating the influence of Rudyard Kipling’s figure on the works of his younger contemporary, the American Frank Norris. The author comes to the conclusion that the English writer fundamentally determined his literary follower’s development vector. Kipling who has become extremely popular among American readers raises Norris’s interest toward neo-romantic short story. The early stage of Norris’s work is noted by Kipling’s powerful influence and the article reveals common plot, compositional and stylistic elements in their works. The writers are united by artistic ideals: Kipling and Norris emphasize the exotic and the criminal and treat the concept of masculinity in a similar way in their short stories. The relevance and scientific novelty of the article are determined by the fact that the article studies Norris’s short stories which were previously unexplored in Russian literary criticism. The author makes an attempt to determine the significance of romanticism’s legacy for Norris’s work and to demonstrate its close relationship with naturalism, exploring various works by R. Kipling. The article uses the following methods: elements of the biographical method; estimation of Norris's theoretical ideas according to the principles of cultural studies; comparative analysis of the works of the two authors. The article can be used in teaching the history of foreign (in particular, American) literature in higher educational institutions.

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7

Mufti, Nasser. "Kipling’s Art of War." Nineteenth-Century Literature 70, no. 4 (March 1, 2016): 496–519. http://dx.doi.org/10.1525/ncl.2016.70.4.496.

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Nasser Mufti, “Kipling’s Art of War” (pp. 496–519) This essay looks at the British empire’s most ambitious years, when it saw Britain and its settler colonies as belonging to a global nation-state, most commonly referred to as “Greater Britain.” The apex of this imperial-national imagination came with the outbreak of the Second Anglo-Boer War, which jingoists like Arthur Conan Doyle and Rudyard Kipling celebrated as a civil war because it was seen to be a conflict between the “blood brotherhood” of empire: Britons and Boers. Hence the characterization of the Boer War as “the last of the gentleman’s wars” or “a sahibs’ war,” because it was said to be fought between the civilized fellow-citizens of the British empire. But Kipling also had to confront the fact that British and Boer tactics were decidedly “ungentlemanly” at the war front. I turn to his short story “A Sahibs’ War” (1901), which is especially concerned about the “gentleman’s war” in South Africa looking identical to anticolonial wars in Afghanistan and Burma, which in Kipling’s mind were barbaric frontier conflicts. Kipling registers this ambivalence between civil and colonial war in the language of his story, which strategically puns across English, Afrikaans and Urdu/Hindi. These translingual puns make legible and sensible the tensions between the intra-national and extra-national, domestic and foreign, civil and imperial that characterized Greater British discourse at the turn of the century.

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8

Marcu, Nicoleta Aurelia. "Kipling and the Age of the Empire." Acta Marisiensis. Philologia 1, no. 1 (September 1, 2019): 1–7. http://dx.doi.org/10.2478/amph-2022-0010.

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Abstract Rudyard Kipling was always a writer of his time yet strangely not of it. Born in an era of uncertainties, the age of Victoria, when the British Empire was the dominant power in the world, he died in a time of fragmentation, on the eve of the Second World War, at a time when Britain could neither compete with her rivals, nor ignore the rising of the anti-colonial tide. A controversial literary figure, Kipling was both acclaimed and sanctioned for being the voice of Anglo-Saxon imperialism. His literary work was a political and ideological response to a historical reality. The writer is representing a reality, or a way reality was seen at the time, given the ideology available to him. Accordingly, Kipling’s life, attitudes and writings were a fusion of many contemporary currents, which generated the contradictions that enveloped him.

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9

Han, Bianca-Oana. "Nicoleta Aurelia Marcu (Medrea) - Kipling’s Vision of India and the Problem of Split Consciousness– Pro Universitaria, București, 2021." Acta Marisiensis. Philologia 5, no. 1 (September 1, 2023): 1–3. http://dx.doi.org/10.2478/amph-2023-0097.

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Abstract The book ‘Kipling’s Vision of India and the Problem of Split Consciousness’ signed by Nicoleta Aurelia Marcu (Medrea) elegantly captures the duality triggered by Kipling’s process of internalization of the two perspectives that defined him as an individual and as a writer, torn -or completed- by being part of the empire, and country of origin. Belonging to both these worlds, Kipling simultaneously identified himself as part of the two worlds, that shaped and framed his personality. The book before us maps the turmoil in confrontation and completion generated by Kipling’s dual quest for identity.

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10

Walters, Alisha. "A “WHITE BOY . . . WHO IS NOT A WHITE BOY”: RUDYARD KIPLING'S KIM, WHITENESS, AND BRITISH IDENTITY." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 331–46. http://dx.doi.org/10.1017/s1060150318000037.

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Rudyard Kipling's final novel, Kim (1901), begins with an intriguing – if paradoxical – description of the eponymous Kim, or Kimball O'Hara: he is an “English” boy with an Irish name and Irish parentage who speaks “the [Indian] vernacular by preference” (1). While the narrator hastens to reassure the reader that Kim is both “white” and “English,” Kim is also “burned black as any native” and speaks his supposed “mother tongue,” English, in an “uncertain sing-song” (1). If we are to take Kipling's assertion at face value, that Kim is, indeed, “English,” then certainly this is a kind of Englishness that is divorced completely from the racially pure ideals of Anglo-Saxon whiteness that were privileged by many racial theorists earlier in the nineteenth century. As an Irish Celt, Kipling's protagonist is always already at a layer of remove from ideals of pure Englishness, but Kipling renders Kim's racial identity even more complicated in the text. The manuscript of Kim gives us some telling clues about the contexts that inform Kipling's peculiar descriptions of “burned black” whiteness in his finished novel. While the published text baldly declares that “Kim was English. . . . Kim was white” (1; ch. 1; emphasis mine), parts of the manuscript are much less certain of this fact, as that document asserts that Kim “looked like a half caste” (Kipling, Kim o’ the ‘Rishti n. 3). And while Kipling ultimately removed this explicit link between Kim and Eurasian bodies in the opening of his published text, this disavowal is neither complete nor convincing throughout Kim. For instance, in the novel, the narrator later describes a “half-caste woman who looked after [Kim . . . and] told the missionaries that she was Kim's mother's sister” (1; ch. 1). While this woman is not, in fact, the boy's aunt, Kim's near-familial tie with her underlines the intimate connection between him and the hybridized subjects of empire. Indeed, Kim demonstrates ideological and affective links to non-white Others and to people of mixed race, and this connection between whiteness and racial hybridity is of central importance to Kipling. If Kim is tenuously white, then he can only perform this whiteness in immediate proximity to racial hybridity, with which whiteness is ideologically contiguous in this text. As I contend in this paper, Kim reveals the under-examined links between early twentieth-century ideas of white British identity and descriptions of imperial miscegenation. In Kim, “White” and “English” emerge as a vexed pair of signifiers that reveal unprecedented traces of racial and national hybridization.

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11

Potnitseva, Tetiana M. "THE VOICES OF THE WAR (“EPITAPHS OF THE WAR” BY R. KIPLING)." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 121–33. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-9.

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The article is examined R. Kipling’s “Epitaphs of the War” (1919) appeared as a summing up of his experience during the First World War. The work reflects the writer’s feeling of tragedy and grandiosity of that historical event. Kipling himself witnessed many episodes of the war and survived his personal tragedy – the death of his son John in 1915. The article aims to analyze the genre originality of the epitaph in the context of R. Kipling’s anti-war theme. Although this part of Kipling’s creative heritage remains less well-known, it is attracting the attention of Ukrainian literary critics and translators now. To reveal the specificity of that poetic work, the comparative and historical-literary methods are applied. The original form of the epitaphs is presented as an epigram which allows one to hear either a voice of a perished soldier or of someone who is reading the epitaph. This manner – not to depict and explain but to transcribe reality – is very recognizable of Kipling’s “masculine style”. In such a manner the first English laureate of the Noble Prize creates a diverse picture of the War in a variety of its tragic episodes and men’s destinies. Thus, a universal picture is born and the main conclusions of the author become transparent. Kipling creates a generalized image of the War by depicting those incredible variants of death “in which life may be extinguished” (J.M.S. Tompkins). Among the dead – “the beginner”, who didn’t realize yet that the war was a reality, not a game as well as the 18 years old soldier of the Royal Air Force (“R.A.F. (Aged Eighteen)”); the sentinel who falls asleep on his post (“The Sleepy Sentinel”); the one who was afraid to face death (“The Coward”) and was severely punished for that by his own combatants and many other tragic stories of the war. The climax of the cycle is the one epitaph in which Kipling formulates his main conclusion about the war – it is “Common Form”. The very title of this epitaph could be interpreted as a “generally used form of explanation” which in Kipling’s ironical presentation is identical to “the main conclusion”. His personal summing up of the event is formulated in the final words: “If any question why we died / Tell them, because our fathers lied”. Namely in these words personal and universal meet. Kipling had feelings of guilt about pushing his son to go to war. At that time, he was captured by patriotic illusions as well as many writers of his country. The perception of the War as a great battle for national and human freedom was the ground on which the main pathos of the War was formed. It penetrated the literary works, the mood of people and resulted in the main myth that appears at any war. Conclusion. The voices of the perished in the First World War that sound in Kipling’s epitaphs create not only the general image of that historical event but a penetrating image of any military confrontation of people, in which human victims, losses and tragedies are inevitable. His epitaphs, without doubt, are relevant in our modern context as well. In addition, they demonstrate different sides of writers’ possible participation in the event in dynamics: from war propagandist to quite another estimation of the war due to one’s personal experience. The poetological peculiarity of Kipling’s epitaphs is in his return to the antique tradition of genre interpenetration of epigram and epitaph. That is what makes the writer’s style recognizable as well as his intention not to depict or comment but to “decipher” the living reality in many shades out of which the wholeness of the world is created. In the interpretation of death, the emphasis is shifting from the philosophical to humanitarian and social-political one. Instead of memento mori (transient of earthly existence), Kipling focuses his attention on the violent death during the war (correlating and identifying the image of war and the image of death) which is presented as a vain sacrifice in the name of someone’s interests. Instead of the idea of equality of death and sacrifice or traditional philosophical meditations about death as an eternal peace, a stay in eternity, Kipling gives a whole spectrum of emotional-expressive connotations connected with his perception of the war – fear, horror, murder, sensation of shock got of imagining what the dead thought and felt at the last moment of their life. Kipling’s epitaphs present the dead soldiers’ voices addressed to contemporaries and descendants containing not only their personal experience of some concrete episodes of the war but a generalized summing up of the war with its senseless sacrifices and by that giving a kind of warning to those who are alive. The theme of lies and far-fetched ideals and their illusory character as well as the theme of false patriotism dominates in Kipling’s epitaphs adding the traces of civic lyrics to that genre. The structural basis of epitaphs is a couplet close to the epigram and a quatrain with a philosophical generalization. Irony is recognizable key artistic modus of Kipling with the help of which he creates a certain character type of the real world simultaneously giving his estimation of the emerging concept of the world which he obviously rejects.

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12

Mercier, Christophe. "Pléiade : Kipling." Commentaire Numéro 76, no. 4 (October 1, 1996): 976–78. http://dx.doi.org/10.3917/comm.076.0976.

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13

Lefebvre, Denis. "Kipling Rudyard." Humanisme N° 291, no. 1 (February 1, 2011): 101–7. http://dx.doi.org/10.3917/huma.291.0101.

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14

Aravind, Padmanabhan. "Kipling revisited." Physics World 21, no. 11 (November 2008): 22. http://dx.doi.org/10.1088/2058-7058/21/11/33.

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15

Wenzel, Sarah G. "Digital Kipling." Reference Reviews 32, no. 5 (June 18, 2018): 11. http://dx.doi.org/10.1108/rr-03-2018-0047.

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16

Asfia, Ruhul. "East and West in Kim and Gora." Crossings: A Journal of English Studies 2, no. 1 (September 1, 2009): 23–36. http://dx.doi.org/10.59817/cjes.v2i1.393.

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The two novels, Rudyard Kipling’s Kim (1901) and Rabindranath Tagore’s Gora (1908), explore the different national and cultural perspectives of Eastern and Western writers regarding the representation of India during the British Raj. But the two novels have interesting parallels which are the focus of this paper. Kipling acquired this race-prejudice from his Anglo-Indian community and reinforced imperialistic theories in his writings current in England towards the close of the nineteenth century. He deliberately focused attention on those things in Indian life which would provide a justification for his imperialistic views. In some of his writings he attempted to show the convergence of East and West. but it always resulted in confrontation. Rabindranath Tagore’s commitment to the nationalist movements originated from his realization of the intense feeling of how miserably Indians felt subordinated during the colonial rule. Tagore’s novel is a scathing exposure of the narrowness, bigotry and stupidity of Hinduism. Where it differs artistically from Kim is that the racial problems in it are treated on a purely human level. In Gora, Rabindranath Tagore speaks for global humanity. But Kipling could not transcend the imperialist ideology in Kim. Tagore’s Gora explores the possibilities of the convergence of East-West but Kipling’s Kim does not let the East and West converge.

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17

Moore-Gilbert, B. "I am going to rewrite Kipling's Kim: Kipling and postcolonialism." Journal of Commonwealth Literature 37, no. 2 (August 1, 2002): 39–58. http://dx.doi.org/10.1177/002198902322439772.

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Moore-Gilbert, Bart. "“I am going to rewrite Kipling’s Kim”: Kipling and Postcolonialism." Journal of Commonwealth Literature 37, no. 2 (June 2002): 39–58. http://dx.doi.org/10.1177/002198940203700204.

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19

Sullivan, Zohreh T., and B. J. Moore-Gilbert. "Kipling and 'Orientalism'." Modern Language Review 84, no. 1 (January 1989): 140. http://dx.doi.org/10.2307/3731974.

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Rocher, Rosane, and B. J. Moore-Gilbert. "Kipling and "Orientalism"." Journal of the American Oriental Society 109, no. 1 (January 1989): 141. http://dx.doi.org/10.2307/604366.

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21

Vora, Setu K., and Robert W. Lyons. "The Medical Kipling." Emergency Medicine News 27, no. 9 (September 2005): 32. http://dx.doi.org/10.1097/00132981-200509000-00027.

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22

Lee, J. "Kipling and Creativity." Essays in Criticism 62, no. 3 (July 1, 2012): 265–78. http://dx.doi.org/10.1093/escrit/cgs007.

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23

Brodsky, Frances M. "Klein or Kipling?" Nature 348, no. 6297 (November 1990): 122–23. http://dx.doi.org/10.1038/348122a0.

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Warren, David. "Chesterton on Kipling." Chesterton Review 39, no. 3 (2013): 217–20. http://dx.doi.org/10.5840/chesterton2013393/4127.

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James Kilroy. "The Stalky Kipling." Sewanee Review 118, no. 3 (2010): lxxv—lxxvii. http://dx.doi.org/10.1353/sew.2010.0030.

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Dobosiewicz, Ilona. "“An Unpleasant Book about Unpleasant Boys at an Unpleasant School”: Kipling’s Reshaping of the Victorian School Story in “Stalky & Co.”." Anglica Wratislaviensia 60 (December 30, 2022): 229–40. http://dx.doi.org/10.19195/0301-7966.60.14.

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“Slaves of the Lamp, Part One”—the first tale of Rudyard Kipling’s Stalky & Co.—was published in 1897, forty years after the publication of Thomas Hughes’s Tom Brown’s Schooldays, a book that created a pattern followed by other practitioners of the school-story genre. The aim of the following paper is to discuss the ways in which Kipling challenged the established conventions of the Victorian school story. In contrast to his predecessors, Kipling did not set his tales in an old, established public school; he questioned the importance of sports and games in developing manly character; and refused to idolize the school traditions. His protagonists rebel against authority and do not follow the rules, but are intent on the pursuing their own interests and pleasures, and do not hesitate to venture out to explore and appropriate for themselves new spaces outside of school boundaries. An important feature of Stalky & Co. is its rejection of anti-intellectualism that characterizes many Victorian school stories. Stalky & Co. abounds in literary allusions, the protagonists are voracious readers; moreover, reading and writing are represented as essential parts of the process by which cultural maturity and authority are attained.

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Paudel, Yog Raj. "Cultural Assimilation: A Post Colonial Perspective in Kim." Kalika Journal of Multidisciplinary Studies 5, no. 1 (December 21, 2023): 126–42. http://dx.doi.org/10.3126/kjms.v5i1.60916.

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Rudyard Kipling’s Kim is mostly considered as a novel of advocacy for making colonizers stronger to rule the natives. It deals the native with a stereotypical perception of the oriental, particularly, of Indian people. This paper has used Edward Said’s postcolonial perspective of orientalism to analyze Kim. Emphasis is given on identifying the situations and expressions that are directed to cultural assimilation, trying to indicate that Kipling advocates for the English cultural supremacy and colonial significance in Indian territory. This research is based on primary as well as secondary data analysis with qualitative research approach. Finding shows that Kipling, with a pretext of standing in- between the East and the West, visualizes varying ranges of stereotype of India and its peoples. Even if cultural assimilation seems to be liberally responded at different occasions this study tells that English community is in understanding and application of cultural supremacy as a determinate factor to establish their rule upon the native and inspire the latter to assimilate to former’s culture. Detailed analysis of assimilation through post-colonial cultural hegemony perceptive would be further relevant study on this novel.

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MacDuffie, Allen. "The Jungle Books: Rudyard Kipling's Lamarckian Fantasy." PMLA/Publications of the Modern Language Association of America 129, no. 1 (January 2014): 18–34. http://dx.doi.org/10.1632/pmla.2014.129.1.18.

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Scholars have long described Rudyard Kipling's The Jungle Books as a Darwinian narrative. Overlooked, however, is the way in which the text explicitly discusses Lamarckian evolutionary ideas, especially the inheritance of acquired characteristics. This essay contextualizes Mowgli's narrative within a fierce late-nineteenth-century debate about whether the Darwinian theory of natural selection or Lamarckian use inheritance was the main driver of evolutionary change. Kipling describes his protagonist's maturation to “Master of the Jungle” in thoroughly Lamarckian terms, as an evolutionary process propelled by experience, effort, and conscious adaptation. But some of the conceptual incoherence that troubled the Lamarckian evolutionary scheme when it was applied to human racial difference also troubles Kipling's account of Mowgli's genetic past and the evolutionary issue of his experiences.

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Abdul Hamid Khan and Salman Hamid Khan. "Kipling, Railways, and The Great Game." Central Asia 86, Summer (November 28, 2020): 141–50. http://dx.doi.org/10.54418/ca-86.78.

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The paper explores Rudyard Kipling’s perspective on the importance of railways in India which is the theme of some of his poetic and prose work. Coupled with this, an overview of the importance of railways and its military, economic and social aspects in Central Asia, in the backdrop of the Great Game of the 19th Century between Russia and Britain is also offered. This study attempts to correlate the significance of the Trans-Caspian Railway (TCR), founded in 1879 and the North Western State Railway in British India formed seven years later in 1886. It also takes into account the railways’ cultural importance for the people of Central Asia. The most important aspect of the subject under assessment is how the construction of railway lines worked as a device and a tool to strengthen the hold of both the colonizing powers. It is in this context that the poet and novelist Rudyard Kipling (1865-1936) glorified the benefits of Indian railways as a stabilizing factor for the strength of the Raj. The paper attempts to establish that railways not only strengthened colonial rule in both Central Asia and India but brought significant social and economic changes in the lives of the people living on both sides of the border. The perspective here is a post-colonial one that offers insights on the effects of colonization, most importantly the modernizing agenda or the enlightenment package attached to the great design of imperialism and empire-building. But the picture that appears after the passing of colonization is hazy when looked at the hybridized and ambivalent view that Kipling held, and also taking into account the hegemony, control, and the politics of aesthetics.

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Canale, DJ. "Rudyard Kipling’s medical addresses." Journal of Medical Biography 27, no. 4 (March 11, 2019): 204–12. http://dx.doi.org/10.1177/0967772019835103.

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Rudyard Kipling was one of the most widely read writers of prose and poetry during his lifetime. His wide travels—he was born in India and lived in England and The United States and made frequent visits to South Africa—led to many encounters with physicians and medicine. His unique addresses to the medical profession reveal his knowledge of medical subjects. His three major medical addresses concern medical subjects in contrast to most laymen addressing physicians, who typically speak about their own areas of expertise. The influence of Sir William Osler on some of Kipling’s stories is also examined.

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Imran, Muhammad, Shabbir Ahmad, Muhammad Younas, and Samina Khaled. "Walls and Sexuality as Trans-cultural Symbols: A Study of Rudyard Kipling’s Short Story ‘On the City Wall’." International Journal of Applied Linguistics and English Literature 9, no. 3 (May 31, 2020): 70. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.3p.70.

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This article aims to discuss Rudyard Kipling’s short story ‘On the City Wall’ (1888) from the trans-cultural perspective by analyzing the tropes of wall and sexuality. Kipling’s attachment to Indian culture and love for it is reflected in his fiction when he gives a detailed description of exotic locations and ethnographic peculiarities. The image wall is quite significant to express different expressions as connector, shelter, veil, and boundary while sexuality is mentioned to unite the different mindsets together at one spot. This article, further, traces that by using the tropes of connector, shelter, veil, and boundary, Kipling depicts the inevitability of the confrontation between the colonizer and the colonized and a sense of unity among the natives. The analysis of the discussion results in Kipling’s admission of the failure of racial, cultural, social, and religious hindrance among the different inhabitants of the city-[walled] of an unnamed city [Lahore] before the partition of the subcontinent for being united.

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32

Rutherford, Andrew, and Harold Orel. "Kipling: Interviews and Recollections." Modern Language Review 82, no. 2 (April 1987): 460. http://dx.doi.org/10.2307/3728463.

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Pinheiro, Gil, and Rudyard Kipling. "Três poemas de Kipling." Cadernos de Literatura em Tradução, no. 5 (January 1, 2003): 27–42. http://dx.doi.org/10.11606/issn.2359-5388.i5p27-42.

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34

Webb, George. "Rudyard Kipling 1865–1936." Round Table 76, no. 302 (April 1987): 254–61. http://dx.doi.org/10.1080/00358538708453812.

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Richards, David Alan. "Kipling and the Pirates." Papers of the Bibliographical Society of America 96, no. 1 (March 2002): 59–109. http://dx.doi.org/10.1086/pbsa.96.1.24295945.

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Richards, David Alan. "Kipling and the Bibliographers." Papers of the Bibliographical Society of America 102, no. 2 (June 2008): 221–34. http://dx.doi.org/10.1086/pbsa.102.2.24293736.

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Sam Pickering. "A Cruise with Kipling." Sewanee Review 118, no. 4 (2010): cvi—cvii. http://dx.doi.org/10.1353/sew.2010.0048.

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Hashmi, Shadab Zeest. "Postcard to Rudyard Kipling." Pleiades: Literature in Context 43, no. 2 (September 2023): 113. http://dx.doi.org/10.1353/plc.2023.a912981.

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Fernandez, Jean. "HYBRID NARRATIVES: THE MAKING OF CHARACTER AND NARRATIVE AUTHORITY IN RUDYARD KIPLING'S “HIS CHANCE IN LIFE”." Victorian Literature and Culture 36, no. 2 (September 2008): 343–59. http://dx.doi.org/10.1017/s1060150308080212.

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When Rudyard Kipling offeredhis wry observations on officialdom in Imperial India to his cousin, Margaret Bourne-Jones, in 1885, he might have been toying with the kernel of one of his more perplexing stories on race and hybridity, written for his 1888 anthology,Plain Tales from the Hills. When Kipling actually came to address this theme fictionally, in his short story entitled “His Chance in Life,” he made one crucial change: he substituted a dark-skinned telegraphist of mixed race for an Englishman, thereby engaging with the illogics of character that hybridity posed for narratives on race and Empire. In Kipling's story, his hybrid hero, stationed in the mofussil town of Tibasu, experiences a sudden surge of Britishness in the mixed blood flowing in his veins at the moment when crisis strikes, and leads a group of terrified policemen in quelling a communal riot between Hindus and Muslims. He is found guilty of exercising unconstitutional authority by a Hindu sub-judge, but the verdict is set aside by the British Assistant Collector. As a reward, he is promoted to an up-country Central Telegraph Office, where he proceeds to marry his ugly sweetheart, also of mixed race parentage, and live happily with a large brood of children in quarters on the office premises, a loyal government servant, “at home” with officialdom and Empire.

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Roy, Parama. "KIPLING'S BESTIARY." Victorian Literature and Culture 45, no. 4 (November 8, 2017): 821–37. http://dx.doi.org/10.1017/s1060150317000237.

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The animal turn in studies of nineteenth-century imperialism has been a long time in coming. Scholars seeking to yoke together questions of nonhuman life and the domain of the colony have come to acknowledge, at long last, that the imperial landscape was not a purely human one. Only now, suggests John Miller, has the considerable scholarship on empire and the natural world made an impress upon Victorian literary studies (479). The animal turn, however, is not new in the scholarship on Rudyard Kipling. For Kipling, empire never was simply an affair of human beings; more perhaps than any other writer of the colonial experience, he saw imperialism as encompassing plural and multiply scaled orders of animate life. Henry James, an early admirer of Kipling's work, took disgusted note in 1897 of what seemed to him the simultaneous multitudinousness and diminution of the younger writer's fictional world: “My view of his prose future has much shrunken in light of one's increasingly observing how little life he can make use of. . . . In his earliest time I thought he perhaps contained the seeds of an English Balzac; but I have given that up in proportion as he has come down steadily from the simple in subject to the more simple–from the Anglo-Indians to the natives, from the natives to the Tommies, from the Tommies to the quadrupeds, from the quadrupeds to the fish, and from the fish to the engines and screws” (Page 49).

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Kemp, Sandra, and Harold Orel. "Critical Essays on Rudyard Kipling." Yearbook of English Studies 22 (1992): 339. http://dx.doi.org/10.2307/3508451.

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Rowe, Timothy, and Gillian King. "Paleobiology: Homage to Rudyard Kipling." Systematic Zoology 40, no. 2 (June 1991): 244. http://dx.doi.org/10.2307/2992262.

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Jadhav, Swapna. "MANOHAR MALGONKAR - “THE INDIAN KIPLING”." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 62–65. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2813.

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Manohar Malgonkar a versatile Indian fictional writer represents the life of pre independent and of post independent India that has left heavy memories of events which changed our nation’s history and society in the most profound ways. His novels “ Distant Drum” (1960), “Combat of Shadows “(1962),” The Princes” (1963), “A Bend in the Ganges” (1964), and “The Devil's Wind” (1972) witness a wonderful knock of weaving plots of singular originality. His themes such as the army life, the aristocracy, commonality, partition of India, violence, sex, hunting, betrayal and revenge actually provides scope to find out the depth of Human relationships.“There is no exaggeration in calling him “INDIAN KIPLING”. Malgonkar has similarities with R.K. Narayan. Both are contemporary Indian fiction writers in English and have experimented with the English language. He finds India under the pressures of modern education and industrialization changing its virtues and reminds us to overcome the evil factors. As a contemporary of writers such as Mulk Raj Anand and Khushwant Singh, it is a fact that Malgonkar’s contribution to the genre we refer to today as Indian Writing in English remains largely unacknowledged.

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Brantlinger, Patrick. "Rudyard Kipling, Writings on Writing." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 210–12. http://dx.doi.org/10.4000/cve.1388.

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Leier, Mark. "Kipling Gets a Red Card." Labour / Le Travail 30 (1992): 163. http://dx.doi.org/10.2307/25143625.

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Evans, Jon. "Managing Mr Kipling′s Way." Journal of Management in Medicine 6, no. 2 (February 1992): 5–10. http://dx.doi.org/10.1108/02689239210013248.

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Eliot, T. S. "The Defects of Kipling (1909)." Essays in Criticism 51, no. 1 (January 1, 2001): 1–7. http://dx.doi.org/10.1093/eic/51.1.1.

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Rome, T. "Paleobiology: Homage to Rudyard Kipling." Systematic Biology 40, no. 2 (June 1, 1991): 244–45. http://dx.doi.org/10.1093/sysbio/40.2.244.

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Thompson, Ruth Anne. "Kipling as They Knew Him." Children's Literature Association Quarterly 12, no. 1 (1987): 54. http://dx.doi.org/10.1353/chq.0.0085.

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Paudel, Yog Raj. "Rudyard Kipling’s Oriental Perspective and Representation in Kim." Kaumodaki: Journal of Multidisciplinary Studies 4, no. 1 (April 9, 2024): 75–84. http://dx.doi.org/10.3126/kdk.v4i1.64563.

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Rudyard Kipling has been judged as an advocate of imperialism in his novels, particularly in Kim, where he implies the message that the Britishers are the finest race to rule the land they have colonized. He has set his novel in India from the colonial and oriental perspectives. This research article, in general, is a study and analysis on what oriental perspectives Kipling has represented in his description of the land and characterization of the Indian people and how he has shown English superiority on them in the novel. The research is based on primary and secondary data. Discussion and analysis of the data are carried out through inducting reasoning, applying the post-colonial perspective of Orientalism propounded by Edward Said in his book Orientalism. This paper particularly attempts to interpret the way Kipling has characterized the protagonist, and the way he has depicted socio-cultural and geopolitical contexts through which the colonial message of English superiority upon colonized land and peoples is conveyed. The finding shows that Kipling has shaped the protagonist, an Irish boy under fifteen, as an able English personality to influence, control, dominate and lead Indian natives in many occasions. He has been presented as decisive role player upon the natives he is associated with. The protagonist’s presence in the novel gives the colonial message that India and Indians are still unable to rule themselves well and save their land from their enemies. Therefore, they need English people to rule the country for their prosperity and protection.

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