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Journal articles on the topic 'Malayalam essays'
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1
Ramakrishnan, E. V. "Translating Difference: Reflections on the Interface between Novelistic Discourse and World Literature." Journal of Foreign Languages and Cultures 8, no. 1 (June 28, 2024): 016–30. http://dx.doi.org/10.53397/hunnu.jflc.202401002.
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The present essay examines two moments from the evolution of the modern Malayalam novel, in relation to the reception of two classics in world literature, namely Victor Hugo’s Les Misérables translated into Malayalam between 1925 and 1927 and García Márquez’s One Hundred Years of Solitude translated in 1984. The translation of Hugo’s novel energized the scene of Malayalam fiction by infusing new modes of representation and widening the intellectual horizons of writers in general, and novelists in particular. The echoes of Les Misérables could be heard in Malayalam fiction well into the 1950s. The struggles against colonial and feudal authorities in Kerala, provided a fertile context for the imaginative interpretation of Hugo’s humanist vision. The paper illustrates this point through close readings of critical essays, autobiographical narratives and debates on the nature of translation. The fascination of Malayali readers with García Márquez has resulted in the translation of his entire corpus into Malayalam. Magic realism as pioneered by García Márquez liberated the Malayalam novelistic narrative from social realist and modernist dogmas. The colonial disruption of oral narratives, the consequent cultural amnesia and the struggle to reclaim one’s forgotten past are themes that struck a chord in Malayalam writers of fiction. Through a detailed discussion of the novel, Moustache by S. Hareesh, the interface between novelistic discourse and world literature is mapped in the latter part of the essay.
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Shivaprakash, H. S., Manorama Tripathy, J. Sreenivasamurthy, and Manu V. Devadevan. "Book Reviews." Indian Theatre Journal 3, no. 1 (December 1, 2019): 57–65. http://dx.doi.org/10.1386/itj_00006_5.
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Kannada Theatre History 1850–1950: A Sourcebook, K. V. Akshara (ed.), B. R. Venkataramana Aithala and Deepa Ganesh (2018)Manipal: Manipal University Press, 288 pp.,ISBN 978-93-82460-84-8, p/bk, Rs. 250Theatre of the Earth – The Works of Heisnam Kanhailal: Essays and Interviews, Heisnam Kanhailal (2016)Calcutta: Seagull Books, 235 pp.,ISBN 978-8-17046-353-5, p/bk, Rs. 450Shakespeare: Kannada Spandana (in Kannada), Nataraj Huliyar (ed.) (2016)Bangalore: Kuvempu Bhasha Bharati Pradhikara, 330 pp.,ISBN 555-1-23408-868-3, p/bk, Rs. 150Chathirangam (in Malayalam), Ashok D’Cruz (ed.), C. K. Namboothiri (2018)Tirur: Thunchath Ezhuthachan Malayalam University, 256 pp.,ISBN 978-8-19374-580-9, h/bk, Rs. 250
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Kooria, Mahmood. "Does the Pagan King Reply? Malayalam Documents on the Portuguese Arrival in India." Itinerario 43, no. 3 (December 2019): 423–42. http://dx.doi.org/10.1017/s0165115319000536.
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AbstractThis article is a response to Sebastian Prange's essay in Itinerario 41, no. 1 (2017): 151–173 wherein he presented a ‘virtually unknown manuscript’ on the Portuguese arrival in India as an Indian voice, unheard in the existing historiography. Prange had consulted the English translation of a Malayalam text by John Wye, that the former had assumed to be lost. However its original palm-leaf manuscript (ōla) is kept at the British Library. This ōla, entitled Kēraḷa Varttamānam, brings to light some remarkable omissions and a few discrepancies in Wye's translation. Closely reading different manuscripts in Malayalam, Arabic, and English I argue that this ōla is in fact a translation of a sixteenth-century Arabic text, Tuḥfat al-mujāhidīn, well known among scholars of its place and period. Taking it a step ahead, I argue that the very existence of this text points towards the cross-cultural and cross-linguistic interactions between the Arabic and Malayalam spheres of premodern Malabar. The ōla demonstrates one of the first instances of Malayalam literature's engagement with a secular and historical theme as the arrival of the Portuguese. In addition, Malayalam works such as Kēraḷōlpatti and Kēraḷa-paḻama are clear voices from Malabar on the Portuguese arrival and consequent episodes.
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Galewicz, Cezary. "Editorship and History Making: On Historicizing Modern Editions of Tiruniḻalmāla." Cracow Indological Studies 23, no. 1 (September 30, 2021): 1–33. http://dx.doi.org/10.12797/cis.23.2021.01.01.
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In the following essay I am going to comment briefly on the intersection between literary and performative genres that originated in early modern Kerala and to some extent continue till date. More specifically, on their relationship with the rich tradition of representing the past through producing works that follow recognizable patterns of composition and conventions of presentation. This more general consideration shall appear here as a backdrop to a study on contemporary editions of an early Malayalam work named Tiruniḻalmāla. The editions follow the relatively recent discovery of the work in question and its subsequent reinstatement in the history of Malayalam literature. I shall argue that the specific ways this reinstatement was presented by the editors, including a particular place they claimed for this work within the formation processes of Malayalam literature, constitute competing acts of general history writing concerned with the ongoing debate on how should the cultural identity and regional history of Kerala be best represented.
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BINTI MAKHTAR, NOR KAMILAH, and NUR AQILAH AMINORHUDDIN. "PENGUASAAN PERIBAHASA DALAM KALANGAN MURID SEKOLAH RENDAH MENGGUNAKAN PERMAINAN JUPERMA 1.0." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 116–29. http://dx.doi.org/10.47252/teniat.v12i1.1172.
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JUPERMA 1.0 merupakan akronim bagi inovasi Jutaria dengan Peribahasa Melayu yang diinovasikan idea daripada permainan Jutaria. Ianya merupakan satu permainan gabungan papan bersama alat digital seiring dengan perkembangan teknologi terkini yang membantu murid-murid dalam mencapai keberkesanan dalam pembelajaran peribahasa. Isu utama dalam kalangan murid sekolah rendah adalah kelemahan murid dalam menguasai peribahasa yang seterusnya akan mempengaruhi kemahiran menulis karangan mereka di dalam penulisan Bahasa Melayu. Ini berlaku kerana mereka tidak memahami maksud sesetengah peribahasa yang menyebabkan mereka tidak dapat menjawab mengikut kehendak soalan dan penulisan mereka menjadi tidak gramatis. JUPERMA 1.0 dapat diaplikasi kepada murid sekolah rendah yang lemah dalam peribahasa. Inovasi ini direka menggunakan bahan-bahan yang berkos murah, mudah didapati dan turut menggunakan bahan-bahan terbuang dalam usaha kelestarian alam sekitar, di samping penggunaan aplikasi digital bagi meningkatkan lagi minat murid terhadap inovasi ini. Hasil inovasi menunjukkan peningkatan minat serta pemahaman murid melalui konsep didik hibur yang diketengahkan dalam inovasi ini. Adalah diharapkan inovasi JUPERMA 1.0 dapat diimplimentasikan sebagai satu bahan bantu mengajar guru di dalam bilik darjah selari dengan trend pembelajaran abad ke-21 melalui penerapan animasi yang menarik. This action research was conducted to improve the mastery of proverbs in the Malay language subject for 3 Level Two primary school students through the JUPERMA 1.0 game. JUPERMA 1.0 is an acronym for Jutaria innovation with Malay Proverbs that is an innovative idea from the Jutaria game. It is a board game combined with digital tools in line with the latest technological developments that help students achieve effectiveness in learning proverbs. The main issue among primary school students is the weakness of students in mastering proverbs which in turn will affect their ability to write Malayalam essays. This happens because they do not understand the meaning of some proverbs which causes them to be unable to answer the questions and their writing becomes ungrammatical. This innovation is designed using materials that are cheap, easy to find and also use waste materials in the effort of environmental sustainability, in addition to the use of digital applications to further increase students' interest in this innovation. The results of this action research were collected by using several research instruments, namely observation, pre-test and final test as well as interviews throughout the intervention process. Through this JUPERMA 1.0 innovation, there is an increase in students' interest and understanding in Malay proverbs through the concept of didik hibur which is highlighted in this action study. It is hoped that the JUPERMA 1.0 innovation can be implemented as a teaching aid for teachers in the classroom in line with the learning trend of the 21st century through the application of interesting animation not only for students in primary school, but also for students in secondary school.
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MAKHTAR, NOR KAMILAH, and NURHASANUL HAYATI SHARUDDIN. "PENGUASAAN PERIBAHASA DALAM KALANGAN MURID SEKOLAH RENDAH MENGGUNAKAN PERMAINAN JUPERMA 1.0." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 116–29. http://dx.doi.org/10.47252/teniat.v12i1.1299.
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Abstrak Kajian tindakan ini dijalankan untuk meningkatkan penguasaan peribahasa dalam mata pelajaran Bahasa Melayu terhadap 3 orang murid Tahap Dua sekolah rendah melalui permainan JUPERMA 1.0. JUPERMA 1.0 merupakan akronim bagi inovasi Jutaria dengan Peribahasa Melayu yang diinovasikan idea daripada permainan Jutaria. Ia merupakan satu permainan gabungan papan bersama alat digital seiring dengan perkembangan teknologi terkini yang membantu murid-murid dalam mencapai keberkesanan dalam pembelajaran peribahasa. Isu utama dalam kalangan murid sekolah rendah adalah kelemahan murid dalam menguasai peribahasa yang seterusnya akan mempengaruhi kemahiran menulis karangan penulisan Bahasa Melayu. Ini berlaku kerana mereka tidak memahami maksud sesetengah peribahasa yang menyebabkan mereka tidak dapat menjawab mengikut kehendak soalan dan penulisan mereka menjadi tidak gramatis. Inovasi ini direka menggunakan bahan-bahan yang mempunyai kos yang murah, mudah didapati dan turut menggunakan bahan-bahan terbuang dalam usaha kelestarian alam sekitar, di samping penggunaan aplikasi digital bagi meningkatkan lagi minat murid terhadap inovasi ini. Hasil dapatan kajian tindakan ini dikumpul dengan menggunakan beberapa instrumen kajian iaitu secara pemerhatian, ujian awal dan ujian akhir serta temubual sepanjang proses intervensi dijalankan. Melalui inovasi JUPERMA 1.0 ini, terdapat peningkatan minat serta pemahaman murid dalam peribahasa Bahasa Melayu melalui konsep didik hibur yang diketengahkan dalam kajian tindakan ini. Adalah diharapkan inovasi JUPERMA 1.0 dapat diimplimentasikan sebagai satu bahan bantu mengajar guru di dalam bilik darjah selari dengan trend pembelajaran abad ke-21 melalui penerapan animasi yang menarik bukan sahaja untuk murid di sekolah rendah, malah kepada murid di sekolah menengah. Abstract This action research was conducted to improve the mastery of proverbs in the Malay language subject for 3 Level Two primary school students through the JUPERMA 1.0 game. JUPERMA 1.0 is an acronym for Jutaria innovation with Malay Proverbs that is an innovative idea from the Jutaria game. It is a board game combined with digital tools in line with the latest technological developments that help students achieve effectiveness in learning proverbs. The main issue among primary school students is the weakness of students in mastering proverbs which in turn will affect their ability to write Malayalam essays. This happens because they do not understand the meaning of some proverbs which causes them to be unable to answer the questions and their writing becomes ungrammatical. This innovation is designed using materials that are cheap, easy to find and also use waste materials in the effort of environmental sustainability, in addition to the use of digital applications to further increase students' interest in this innovation. The results of this action research were collected by using several research instruments, namely observation, pre-test and final test as well as interviews throughout the intervention process. Through this JUPERMA 1.0 innovation, there is an increase in students' interest and understanding in Malay proverbs through the concept of didik hibur which is highlighted in this action study. It is hoped that the JUPERMA 1.0 innovation can be implemented as a teaching aid for teachers in the classroom in line with the learning trend of the 21st century through the application of interesting animation not only for students in primary school, but also for students in secondary school.
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Josephine A., Merin, and Dr Cynthia Catherine Michael. "Nature Influencing Characters- An Analysis of the Malayalam Movie Iyobinte Pusthakam." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 52–62. http://dx.doi.org/10.24113/ijellh.v9i3.10946.
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Space and place are two complex concepts in literature. These can in turn affect the course of characters, situations and the plot of story. Presently in visual media, especially in movies; a relation between nature and surroundings can be traced. Both nature and surroundings influence each other. Malayalam cinema is going through many different paths which are always open for study. Each movie in it is incomparable in plot, techniques and narration. A relation between surroundings and characters can always be drawn. Keith H. Basso is an important cultural anthropologist who found a noticeable connection between nature and human beings. Nature always creates mystery and wonder. Nature always has a great influence in the human evolution and culture formation. Tagore’s ‘The Religion of Forest’ says the link between forest and ancient Indian culture. In the same essay, Tagore represents the European belief on nature as a war between good and evil. ‘IyobintePustham’ is analysed in both these views. The forest depicted in the movie can be interpreted as a provider and protector to its character. In another sense, it mirrors the goodness and the evils in the mind of characters. Forest is an important archetype in human history and culture.
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Aslam Mulla, Prof Samareen. "A Study and Critique Diligent on Contribution of Kamala Das to Indian English Poetry." International Journal of Research Publication and Reviews 03, no. 12 (2022): 1759–64. http://dx.doi.org/10.55248/gengpi.2022.31253.
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I am what I am, declares Kamala Das at the outset of her essay. The poetess asserts that she is uninterested in politics yet claims to be familiar with every leader since Nehru. She seems to be saying that she cannot help but have things imprinted in her. One of the most well-known feminists of the postcolonial era was Kamala Das. She wrote in both English and Malayalam, her native language. She wrote under the pen names Madhavi Kutty and Kamala Das for her Malayalam and English readers, respectively. She was dubbed "The Mother of Modern Indian English Poetry" for her enormous contributions to poetry in our nation. Because of the confessional nature of her writing, she has also been compared to literary giants like Sylvia Plath. We examine this literary icon's amazing life on the anniversary of her birth. One of the most important voices in Indian English poetry is Kamala Das. She is regarded as one of the key inspirations on Indian English poetry, and in 2009, The Times dubbed her "the mother of modern English Indian poetry" (www.timesonline.co.uk) in honor of her efforts. She received numerous honors for her writing, including the Asian Poetry Prize in 1998, the Kent Award for English Writing from Asian Countries in 1999, the Asian World Prize in 2000, the Ezhuthachan Award in 2009, the Sahitya Academy Award in 2003, the Vayalar Award in 2001, and the Kerala Sahitya Academy Award in 2005. Three poems she has written are By stating that she can recite these as quickly as she can identify the days of the week or the months, she is implying that these politicians were stuck in a cycle of time that repeats itself without regard for uniqueness. Time defined them rather than the other way around. Her contribution to Indian English poetry is the main topic of the paper.
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Elizabeth, K. Mary. "Performing the Elements in Indian Eco-Theatre: Deepan Sivaraman’s The Legends of Khasak." Modern Drama 64, no. 2 (June 2021): 218–37. http://dx.doi.org/10.3138/md.64.2.1115.
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This article considers The Legends of Khasak, a Malayalam play by Deepan Sivaraman, as a landmark Indian eco-theatrical production. I argue for the play as an important development in a nascent Indian eco-theatre, telling an ecologically significant tale about the relationship between humans and nature through performative and scenographic innovations that transform the theatrical space into a sacred grove, a place of deep significance in terms of ecological balance. This essay elaborates on how the play celebrates the pancha bhutas, the five elements of nature, by displaying their agency and invoking the pancha indriyas, or the five pathways of human perception, and thereby awakening an awareness of our status as ecological beings enmeshed in the non-human world. In The Legends of Khasak, Sivaraman has evolved an eco-material aesthetics of performance that, influenced by traditional folk performance forms and rituals and post-independence syncretic theatre, makes a lasting contribution to the development of an Indian eco-drama.
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Van Fleit, Krista. "Suspect narratives: “Sinifying” an “Indianized” Japanese story." International Journal of Asian Studies 19, no. 2 (June 28, 2022): 303–17. http://dx.doi.org/10.1017/s1479591422000067.
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AbstractIn 2013, the Malayalam film Drishyam, a suspenseful story of the cover up of an accidental murder, became a huge hit in India that inspired remakes in many regional languages including one in Hindi that, as with other recent Bollywood hits, traveled to China. This time, though, instead of screening the Hindi film in theaters, the narrative reached Chinese audiences with a Chinese language remake, titled Sheep Without A Shepherd《误杀》. The original film has been accused of lifting its story from a popular Japanese detective novel, The Devotion of Suspect X, which was also made into films in Japanese, Chinese, and Korean. This essay traces the many versions of the narrative to explore how comparing the Indian and Chinese films can recenter our understanding of global cinema and film circulation. When considering the many version of Drishyam, instead of focusing on tensions between center and periphery, we can examine both the anxieties and the creative power of cultural borrowing and the retelling of narratives in an increasingly inter-connected Asian film market
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Galewicz, Cezary. "A jar of pure poetry over the head of a polluted god: On the cultural economy of Tiruniḻalmāla." Indian Economic & Social History Review 59, no. 4 (October 2022): 447–70. http://dx.doi.org/10.1177/00194646221130437.
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The present essay grows from the contention that we need to learn more on how the historical survival and career of indigenous knowledge systems and of related literary genres depended on genre-specific vehicles of transmission and on changing institutional structures of patronage that sustained them. As in many other instances of surviving early Malayalam literature, we know next to nothing about the process of producing intended audiences or actual users of the work titled Tiruniḻalmāla. So is the case with the historical moment of its composition, its sociocultural context or the economic basis of its transmission in terms of patronage patterns that might have framed its composition and later circulation. This situation calls for a new critical attention to the editorial processes of rediscovery pertaining to this and other early works in their bearing on the regional history making. The article proposes a closer look at the work in question as an instance of specific type of premodern textuality with its problematic standing in terms of genre, language and type of discourse against the backdrop of the practices of inscription prevalent in later medieval and premodern South India. It touches also on the complex relationship of Tiruniḻalmāla with the Āṟanmuḷa temple and the ritualised performances of Teyyam of North Malabar while exploring the historically understood cultural economy of its transmission and reproduction.
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Vishwakarma, Alka. "Translating Ramayana." Exchanges: The Interdisciplinary Research Journal 11, no. 2 (April 26, 2024): 133–60. http://dx.doi.org/10.31273/eirj.v11i2.1144.
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Embedded contexts and improvisations in bhasha Ramayanas with its nuances of plurality attribute to its influences of respective linguistic and culture of multinational and multicultural countries: Ram-story of Ramayana, considered primarily a work of smriti , has travelled a long journey in the land of multilingual and heterogeneous cultural spheres. Indian bhashas – Assamese, Thamizh, Malayalam, Oriya, Bengali, and so on – have rendered Rama-katha within the very Indian society under different paradigms which have overshadowed the original, i.e. Valmiki’s Ramayana in Sanskrit. In lieu of assimilation of original text in another language that relevant translation promotes, bhasha Ramayanas presents different renderings or retellings , instead of variants or versions of Valmiki, colored with heterogeneous cultural ethos. Discussing three bhasha Ramayana(s) – 12th century Kampar’s Ramavataram in Thamizh , 15th century Krttivasi Ramayana or Sriram Pacali in Bengali, and 16th century Tulsidas’s Ramcharitmanas in Awadhi – this essay explores social and literary function of translation strategies in its poly-lingual and multinational world. Questioning the idea of original and relevant Ramayana, it also reflects on how bhasha Ramayanas co-exist in multilingual and multicultural society with its distinguished autonomy and differences. The tripartite comparative project of this article critically investigates their structures, sequential arrangements, bhasha cultural color, and story overlaps. It also calls attention to coalescence of Rama-story through plurilingual renderings with respect to its pluricultural valences in South Asia. Focusing on the polyvalences, it also argues that such retellings problematize the relevance of a genuine translation by questioning translational canonical principles for bhasha texts.
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Sameerah Fathima. "A Migrant Experience of Gulf Malayalees in Deepak Unnikrishnan’s Temporary People." Creative Saplings 2, no. 02 (May 25, 2023): 24–38. http://dx.doi.org/10.56062/gtrs.2023.2.02.285.
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Abu Dhabi-based writer Unnikrishnan, originally from Kerala, explores the precarity and transience of migrant groups in his Gulf immigrant tales. Research was done to determine the issues that Indian migrant workers encounter in the Gulf states. In 2015, the UAE surpassed Saudi Arabia as India's most important Gulf destination market. C. (Chanda & Gupta) Although laws and programs have prioritized and safeguarded the well-being of Indian migrants, they are not limited to this group and are available to Gulf migrants as well. The sponsorship system, also known as Nizam al Kafala, governs and keeps tabs on the dynamic between migrants and their employers. The kafeel, or sponsor, is legally responsible for the worker in this kind of international contract migration. Humanitarian concerns inspired an initial trial of the system, which had a tight coupling of the work permit and the resident permit. The Kafala has eased several restrictions on foreign employees, including the need that they get exit visas from the Kafeel. The stories and experiences of Gulf Malayalee migrants were the focus of ethnographic and literary research into the lives of Arab Gulf migrants. However, the use of fiction to better comprehend migrant experiences is a relatively uncharted territory in the field of migration studies. This essay uses Deepak Unnikrishnan's Temporary People to examine the plight of emigrant Gulf Malayalees.
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Varghese, Heba Thankam. "Telling translocal histories: Reading the migrant life-worlds in Gulf-Keralan writing." Journal of Commonwealth Literature, January 28, 2023, 002198942211452. http://dx.doi.org/10.1177/00219894221145222.
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This article discusses three Malayalam texts written by Gulf-Kerala migrants: V. Musafar Ahammed’s (2014) Kudiyettakkarante Veedu [House of the emigrant], a collection of memoirs; Benyamin’s (2016) Kudiyettam: Pravasathinte Malayalivazhikal [Emigration: Malayali routes of exile], an anthology of essays; and Sam Pynummoodu’s (2016) Kuwait Indian Kudiyetta Charitram: Kuwaitile Indian Pravasavum Malayali Sanidhyavum [A history of Indian emigration into Kuwait: India’s Emigration to and Malayali Presence in Kuwait], a historical work. This essay introduces them as microhistorical writings that attempt to document Kerala’s diasporic history — in particular, the history of the Gulf-Keralan diaspora to which the writers belong. At the micro-level, these diasporic histories are distinguished by their multiplicity, particularity, and dialogic association. Furthermore, this essay maintains that the writings acknowledge the agential force of the migrant subject, thereby reinforcing the primacy of the migrant writer and migrant protagonists. In the course of translating subjective experiences into vivid moments of articulation, migrant memory summons a heterogeneous narrative fabric that is characterized by epistemic disjunctures and methodological shifts. Consequently, these texts present an alternative to the canonical literature (as manifested within the ambit of state and academic engagements) on Gulf-Kerala migration, thereby reinventing the dominant historical discourse and recontextualizing history in the private realm of embodied narratives.
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Augustine, Jaisymol. "smell and echo of death in the stories of Madhavkkutty." International journal of health sciences, June 14, 2022, 11870–74. http://dx.doi.org/10.53730/ijhs.v6ns3.8945.
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Madhavkkutty was a Malayalam story writer who had caused to extended and expand the frontiers of vision of the readers through diverse experiences. She searched for only those things which made life worth living. Her creations were the reflections of such inquiry. The motivating force which led her life forward was love. The writings of Madhavkkutty were bound by love to an extent that such a condition was revealed. Several writers have presented death in poetry romantically, symbolically, and mystically. But, only very few writers have portrayed death invoking it as a character and developing it properly. Madhavkkutty a is one such writer. In her stories, Madhavkkutty portrayed Death concerning the sensual experiences of colour, smell, and sound (N.B-Kamala Das was known in the Malayalam Literary world as Madhavikutty, so in this Essay, I used her name Madhavkkutty)
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Kavya, E. M. "Walking in the Forest: Understanding Spaces Through Cartography in the New-Generation Malayalam Cinema." Literary Studies, March 4, 2024, 44–52. http://dx.doi.org/10.3126/litstud.v37i1.63017.
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Cinema as an audio-visual medium is vested in the significant and realistic portrayal of multiple spaces through the depiction of the city, countryside, houses, buildings, forest, etc. Malayalam cinema has a long history of dealing with forest spaces from livelihood to spaces of resort. This paper is an attempt to understand the new-generation Malayalam cinema’s engagement with space, especially forest spaces. It argues that new-generation Malayalam cinema tries to map forest spaces using the subjective understanding of the inhabitants with the help of narrative cartography. Walking in the forest will be the major technique in mapping the spaces. It also tries to unravel how the “representational spaces” (Lefebvre 38) have been delineated in the “representations of space” (38) through the subjective understanding of the “spatial practices” (38) in the movies. Human traversal through space in time mapping the spaces by following subjective histories and oral narratives will be looked upon. A detailed analysis of two movies, Churuli (2021) by Lijo Jose Pellissery and Virus (2018) by Aashiq Abu will be utilized in theorizing the “diegetic” (Steffen 25) space of the movies, taking the “natural space” (Lefebvre 30) of the forest into consideration. Key concepts in Spatial Literary Studies, importantly Henry Lefebvre’s The Production of Space and the idea of “heterotopia” (Foucault 24) introduced by Michel Foucault in his essay “Of Other Spaces: Utopias and Heterotopias” will be utilized in comprehending these movies.
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"TRANSLATING THE SUBALTERN’ : A STUDY OF SARA JOSEPH'S RAMAYANA STORIES AUTHOR." GAP BODHI TARU - A GLOBAL JOURNAL OF HUMANITIES 1, no. 1 (August 13, 2018): 39–44. http://dx.doi.org/10.47968/gapbodhi1.1.
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Gayatri Spivak, in her essay Can the Subaltern Speak? raises doubts about the recovery of the subaltern voice which can, in her words, 'know and speak itself. ''The Ramayana is a living, evolving tradition which has given rise to a multiplicity of innovative retellings. One of such retellings is Sara Joseph's ' Ramayana Stories', originally written in Malayalam and translated into English. The focus in this paper is on three stories written by Sara Joseph based on three different characters from the Ramayana, namely Sita, Sambooka and Soorpanakha. They are characters who are generally seen as marginalized. Undoubtedly, the subaltern becomes the subject in these stories, providing, in its own delicate manner, an answer to the question ' Can the subaltern speak'? The paper is also an attempt to look at translation as a political act which is able to make sense of the counter narrative to the " historical silencing of the subaltern."
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Vadackel, Jerome. "The Self-made Victim in the Crosshairs of East-West Confrontation: Ravi’s Odyssey in O V Vijayan’s The Legends of Khasak." Rupkatha Journal on Interdisciplinary Studies in Humanities 15, no. 5 (December 31, 2023). http://dx.doi.org/10.21659/rupkatha.v15n5.05.
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A pathbreaking novel in Malayalam literature, Khasakkinte Ithihasam (Legend of Khasak), was written by O V Vijayan and published in 1969. It is a novel that weaves together the existential journey of the protagonist, Ravi, with the religion, characters and culture of the fictional village Khasak. The paper is written to place in relief Ravi’s inability to complete his education and analyse it in the background of the contrast Vijayan brings between Eastern and Western modes of thinking. The subsequent struggles he encounters in the single-teacher school in Khasak are read as being born of a more acute subliminal struggle. Drawing useful parallels for comparison from Jacques Derrida’s essay “The Gift of Death,” Ravi’s character, particularly his indifference towards Western education and death drive, is studied, which interestingly provides insights also into his problematic sexual life which lies at the centre of his journey to Khasak.
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Vinai, Maya, and S. M. Mithuna. "A Comparative Study of Hunger and Satiation of Hunger in the Literary Works of M.T. Vasudevan Nair and Perumal Murugan." Global Performance Studies 6, no. 1-2 (June 22, 2024). http://dx.doi.org/10.33303/gpsv6n1-2a140.
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The ‘presence’ and ‘absence’ of food, has been an oft-deliberated topic right from the Palaeolithic Age in India. Starting from the Bhimbetka Rock paintings to the famous Raja Ravi Varma’s paintings to Nandlal’s artworks depicting the famine and drain of economy due to the imperial greed in Bengal - all of which depict the creative artist’s and writer’s colossal engagement with hunger and satiation of hunger. Likewise, several fiction writers have explored the idea of hunger, especially in Malayalam and Tamil language. The idea of hunger has been used as a trope by several indigenous writers to explore multiple social turmoils and transformations. For example, writers like M.T. Vasudevan Nair use memories of hunger by child narrators to depict the fall of the feudal system, collapse of matrilineal structures, social neglect and gender marginalisation. In the present essay, we focus on two aspects of hunger a) the representation of memories of hunger amongst the rural agrarian communities b) the role that mothers play and the methods that they incorporate in mitigating hunger and creating a feeling of illusory self sufficiency (of food) amongst children. The essay argues that memories of hunger, dearth, and abundance of food are forged not just by the physical lack of it but by the experiences of lack of social security, denial of identity and the rupture of familial ties. To substantiate our arguments we draw upon the literary works of M.T. Vasudevan Nair, and Perumal Murugan and use the theoretical framework of memory studies.
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Ross, Michael Lawrence. "Arundhati Roy and the politics of language." Journal of Commonwealth Literature, October 24, 2019, 002198941988103. http://dx.doi.org/10.1177/0021989419881033.
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This essay argues that Arundhati Roy’s inclusion of numerous Indian vernacular words and phrases in her fiction is carefully calibrated to serve the author’s activist political agenda. This is true not only of her first novel, The God of Small Things, but also of the more recent Ministry of Utmost Happiness. Both feature a Bakhtinian or dialogic interplay of linguistic modes. The earlier work poses two languages against each other: Malayalam, the primary language of Kerala, and English, the medium of narration and the preferred tongue of the prominent Ipe family. The outcome of this contest highlights the Ipes’ imprisonment within a life-denying straitjacket of outworn prejudices and conventions. In The Ministry of Utmost Happiness the linguistic terrain broadens to include several tongues of the subcontinent, along with English. Roy gives special exposure to two: Urdu and Kashmiri, to reclaim them from the oppression both of them, along with their speakers, are undergoing at the hands of the dominant Hindi-speaking majority. Tilo, a pivotal character, is enthusiastically polyglot, a trait which accords with her more general adaptability and freedom from sectarian narrowness. The other central figure, the transgender Anjum, resembles Tilo in her resistance to strict definitions of her fluid selfhood, but must endure forms of verbal as well as physical violence. Like her first novel, but on a more capacious stage, Roy’s second aims at speaking multilingual truth to monolingual power.
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Bronner, Yigal, and David Shulman. "Thinking with two heads: The poetics of asat in early-modern India." Indian Economic & Social History Review, May 5, 2024. http://dx.doi.org/10.1177/00194646241241667.
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In early modern India, and particularly South India—from roughly the sixteenth century until the eighteenth—a new literary vogue emerged in all major literary traditions (Tamil, Telugu, Kannada, Malayalam, Sanskrit, Persian). With remarkable salience, we find verses built around absurdity of various kinds and modes. Sometimes it is a matter of pushing the existing literary conventions and figures to an impossible extreme. In other cases, we find a fascination with asymmetry, disjunction, skewed causality, and irrealis or counter-factual linguistic forms. Although such experiments with absurdity have precedents in classical kāvya, the evident consistency and intertextual relations among outlandish poems in this period are very striking, as is the fact that the theoreticians of poetics found it necessary to posit a grammar for them (including for poems based on asat, that is, non-existence or sheer impossibility). This essay explores the forms and logical underpinnings that this fashion for the bizarre assumed; we also offer a tentative explanation for the new trend. The prabandha-based poems of absurdity need to be distinguished from the coded texts known in Kannada as beḍagina vacana and in early Hindi as ulaṭbaṃsi, in which an upside-down or inside-out world is created, the goal being to arrest intellection altogether. We also show the distinction between the poetry of the absurd in the early modern texts and the European Dada movement, which aims at unravelling language and enshrines a principle of pure randomality in the choice of words.