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Journal articles on the topic 'Midnight's children'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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1

KARAALİ, Selin. "AN INTERTEXTUAL EXAMINATION OF MIDNIGHT'S CHILDREN." International Journal of Social Humanities Sciences Research (JSHSR) 6, no. 46 (January 1, 2019): 3911–15. http://dx.doi.org/10.26450/jshsr.1613.

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2

Dayal, Samir. "Talking Dirty: Salman Rushdie's Midnight's Children." College English 54, no. 4 (April 1992): 431. http://dx.doi.org/10.2307/377839.

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3

Fritzman, J. M. "Geist in Mumbai: Hegel with Rushdie." Janus Head 11, no. 1 (2009): 99–118. http://dx.doi.org/10.5840/jh200911124.

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This article demonstrates that Hegel and Rushdie are contemporaries, and that the Phenomenology of Spirit and Midnight's Children are each others counterpart—philosophical and literary, respectively. It shows that the narrative structures of the Phenomenology of Spirit and Midnight's Children are identical, and both texts culminate in the remembrance of their narrative journeys. It argues that authenticity is constituted by the inauthentic. Recognizing that both texts remain open to the future, this article concludes by urging that India is now the land of the future and that Midnight's Children is the continuation of the Phenomenology of Spirit.

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4

Mohammed, Patricia. "Midnight's Children and the Legacy of Nationalism." Callaloo 20, no. 4 (1997): 737–52. http://dx.doi.org/10.1353/cal.1997.0080.

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5

Giles, Todd. "Writing and Chutnification in Rushdie's Midnight's Children." Explicator 65, no. 3 (April 2007): 182–85. http://dx.doi.org/10.3200/expl.65.3.182-185.

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6

Syed, Mujeebuddin. "Midnight's Children and its Indian Con-Texts." Journal of Commonwealth Literature 29, no. 2 (June 1994): 95–108. http://dx.doi.org/10.1177/002198949402900209.

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7

Quazi, Moumin. "“Filmy Glazes” in Salman Rushdie's Midnight's Children." South Asian Review 27, no. 2 (June 2006): 72–92. http://dx.doi.org/10.1080/02759527.2006.11932442.

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8

Quazi, Moumin. "Salman Rushdie's Midnight's Children and its Incarnations." South Asian Review 35, no. 1 (January 2014): 157–68. http://dx.doi.org/10.1080/02759527.2014.11932960.

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9

Марина Владимировна, Оборина,. "SYNTACTIC ICONICITY IN PROSE BY SALMAN RUSHDIE (MIDNIGHT’S CHILDREN)." Вестник Тверского государственного университета. Серия: Филология, no. 4(75) (December 8, 2022): 147–54. http://dx.doi.org/10.26456/vtfilol/2022.4.147.

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В статье рассматривается иконический потенциал синтаксиса. Рассмотрены две типические структуры иконического синтаксиса в романе С. Рушди «Дети полуночи», задействованные для представления смыслов-переживаний. Реализуемая почти противоположными способами иконичность тем не менее реализует замысел автора и опредмечивает значащие переживания героя-рассказчика. The paper explores the iconic representation of reality in fiction through syntactic means. It proves that the iconicity of expression triggers the mechanism of sense-building through activating traces of sensual experience. In fiction syntactic means revealed the iconic possibilities of language to the greatest extent.

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10

Karamcheti, Indira. "Salman Rushdie's "Midnight's Children" and an Alternate Genesis." Pacific Coast Philology 21, no. 1/2 (November 1986): 81. http://dx.doi.org/10.2307/1316415.

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11

Ubaraj Katawal. "In Midnight's Children, the Subalterns Speak!" Interdisciplinary Literary Studies 15, no. 1 (2013): 86. http://dx.doi.org/10.5325/intelitestud.15.1.0086.

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12

Alkan, Halit. "A Transnational Approach to Salman Rushdie's "Midnight's Children"." International Journal of Social, Political and Economic Research 7, no. 3 (September 3, 2020): 601–7. http://dx.doi.org/10.46291/ijospervol7iss3pp601-607.

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Colonialism and post-colonialism have led to the development of transnationalism that is the interconnectivity between people and the economic and social significance of boundaries among nation states. When transnational approach is applied to Salman Rushdie’s Midnight’s Children (1981), it allows researchers to analyse how transnationalism impacts on gender, class, culture and race both in host and home countries. The traditional cultural heritage of India and British imperialism’s impact on Indian society are told through dual identities of the narrator Saleem Sinai who has double parents. Saleem’s grandfather, Aadam Aziz, a Western-trained physician, scorns his wife Naseem who could not notice the difference between mercurochrome and blood stains. As a traditional Indian wife Naseem’s response to the immoral sexual desires of her husband who has adopted the Western culture is a reaction to British cultural environment in India. Saleem’s mother Amina’s cultural conflict caused by colonialism is emphasized because she has to carry on her traditional culture-specific daily habits in her new house bought from a colonialist without changing the order established by Methwold. Despite gaining their independence, Indians cannot get rid of the impact of British colonialism. In terms of transnationalism, Indians are considered as undeveloped, ignorant and wild by British.

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13

Hogan, Patrick Colm. ""Midnight's Children": Kashmir and the Politics of Identity." Twentieth Century Literature 47, no. 4 (2001): 510. http://dx.doi.org/10.2307/3175992.

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14

Richardson, Morgan. "Red-Headed Physiognomy in Salman Rushdie's MIDNIGHT'S CHILDREN." Explicator 76, no. 2 (December 20, 2017): 60–62. http://dx.doi.org/10.1080/00144940.2017.1401521.

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15

Merilă, Isabela. "Changing Textual Identities in Salman Rushdie's Midnight's Children." Procedia - Social and Behavioral Sciences 63 (October 2012): 81–84. http://dx.doi.org/10.1016/j.sbspro.2012.10.014.

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16

Heffernan, Teresa. "Apocalyptic Narratives: The Nation in Salman Rushdie's "Midnight's Children"." Twentieth Century Literature 46, no. 4 (2000): 470. http://dx.doi.org/10.2307/827843.

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17

Ireland, Kenneth R. "Doing Very Dangerous Things: Die Blechtrommel and Midnight's Children." Comparative Literature 42, no. 4 (1990): 335. http://dx.doi.org/10.2307/1770707.

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18

RAMANI, ANUSHA UTHAMAN. "The Carnivalesque in Steinbeck's Tortilla Flat and Rushdie's Midnight's Children." Steinbeck Review 9, no. 2 (2012): 89–93. http://dx.doi.org/10.2307/41693924.

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19

RAMANI, ANUSHA UTHAMAN. "The Carnivalesque in Steinbeck's Tortilla Flat and Rushdie's Midnight's Children." Steinbeck Review 9, no. 2 (2012): 89–93. http://dx.doi.org/10.5325/steinbeckreview.9.2.0089.

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20

Su, John J. "Epic of Failure: Disappointment as Utopian Fantasy in "Midnight's Children"." Twentieth Century Literature 47, no. 4 (2001): 545. http://dx.doi.org/10.2307/3175993.

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21

Mukherjee, Ankhi. "Fissured Skin, Inner-Ear Radio, and a Telepathic Nose: The Senses as Media in Salman Rushdie's Midnight's Children." Paragraph 29, no. 3 (November 2006): 55–76. http://dx.doi.org/10.3366/prg.2007.0006.

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This essay brings the postcolonial novel in relation with an often-overlooked but rich resource: the embedded, materialist figurations of psychoanalysis. It examines Salman Rushdie's use of the alternative register of sensory perception in Midnight's Children to piece together an extant self that corresponds both actively and passively to the new historical and political realities of the subcontinent. In doing so, however, the essay moves beyond critical commonplaces about Rushdie's magical realism and revisionary historiography to align his æsthetic instead to the media conditions under which Freud worked, the emergent ideas of transference and telepathy, and the resultant imperatives of Freudian psychoanalysis. The capaciousness and indeterminate logic of Midnight's Children can be read as those of an analytic medium which indiscriminately receives psychic material, both individual and collective. The narrator, like Freud's analyst, is idealized as amedia technology who/which (imperfectly) reconstructs a story from the derivatives of the national unconscious.

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22

Frank, Søren. "The aesthetic of elephantiasis: Rushdie's Midnight's Children as an encyclopaedic novel." Journal of Postcolonial Writing 46, no. 2 (May 2010): 187–98. http://dx.doi.org/10.1080/17449851003707279.

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23

Butt, Nadia. "“Chutneyfying” Memory and History: Mapping Transcultural India in Midnight's Children (1981)." South Asian Review 35, no. 1 (January 2014): 37–53. http://dx.doi.org/10.1080/02759527.2014.11932953.

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24

Ghosh, Kuhelika. "Can the Sundarbans Speak? Multispecies Collectivity in Salman Rushdie's Midnight's Children." ariel: A Review of International English Literature 54, no. 1 (January 2023): 1–26. http://dx.doi.org/10.1353/ari.2023.0000.

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25

Cronin, Richard. "The Indian English Novel: Kim and Midnight's Children." MFS Modern Fiction Studies 33, no. 2 (1987): 201–13. http://dx.doi.org/10.1353/mfs.0.1331.

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26

Gane, G. "Postcolonial Literature and the Magic Radio: The Language of Rushdie's Midnight's Children." Poetics Today 27, no. 3 (September 1, 2006): 569–96. http://dx.doi.org/10.1215/03335372-2006-002.

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27

Ramsey-Kurz, H. "Does Saleem really miss the spittoon?: script and scriptlessness in Midnight's Children." Journal of Commonwealth Literature 36, no. 1 (June 1, 2001): 127–45. http://dx.doi.org/10.1177/0021989014231226.

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28

Deniz, Kırpıklı. "Giving voice to multiple realities: Polyphony and magic realism in Midnight's Children." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi - DTCF Dergisi 57, no. 1 (2017): 654–73. http://dx.doi.org/10.1501/dtcfder_0000001531.

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29

Kane, Jean M., and Salman Rushdie. "The Migrant Intellectual and the Body of History: Salman Rushdie's "Midnight's Children"." Contemporary Literature 37, no. 1 (1996): 94. http://dx.doi.org/10.2307/1208752.

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30

Afzal-Khan, Fawzia. "“Myth De-Bunked: GENRE and IDEOLOGY in Rushdie's Midnight's Children & Shame”." South Asian Review 17, no. 14 (December 1993): 76–84. http://dx.doi.org/10.1080/02759527.1993.11932162.

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31

Schröttner, Barbara Theresia. "The Value of Post-Colonial Literature for Education Processes: Salman Rushdie's Midnight's Children." European Educational Research Journal 8, no. 2 (January 2009): 285–98. http://dx.doi.org/10.2304/eerj.2009.8.2.285.

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32

Lipscomb, David. "Caught in a Strange Middle Ground: Contesting History in Salman Rushdie's Midnight's Children." Diaspora: A Journal of Transnational Studies 1, no. 2 (1991): 163–89. http://dx.doi.org/10.1353/dsp.1991.0003.

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33

Weickgenannt, Nicole. "The Nation's Monstrous Women: Wives, Widows and Witches in Salman Rushdie's Midnight's Children." Journal of Commonwealth Literature 43, no. 2 (June 2008): 65–83. http://dx.doi.org/10.1177/0021989408091232.

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34

Chuvanova, Olga Igorevna. "Kashmir as the center of conflict in the novel “Midnight's Children” by Salman Rushdie." Litera, no. 11 (November 2020): 1–11. http://dx.doi.org/10.25136/2409-8698.2020.11.34154.

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The subject of this research is the conflicts generated by mythological and historical space in Kashmir Valley, which is one of the central artistic images in the novel “Midnight's Children” by the British writer of Indo-Pakistani descent Salman Rushdie. Conflict situation within the framework of Kashmir’s topos is sense-making, as it is associated with the problem of choice and acquisition of cultural wholeness by the character of the novel. The historically substantiated propensity towards conflict of the actual geographical region, which became the cause for interethnic hostility between Pakistan and India, is complicated by the conflict of Western and Eastern cultures. The "East – West" opposition implies the conflict between the conservatory intentions of the Eastern autochthonous culture and the attempts of it suppression by pro-Western migrants. The author applies historical and literary, hermeneutical and mythopoetic methods. It is determined that involvement of Kashmir’s topos in the artistic world of the novel is substantiated by the historical and interethnic conflicts in the region related to acquisition of independence by India. On the mythological level, Kashmir manifests as a space that synthesizes the ambivalent forces of destruction and creation, which reveals the latent propensity towards conflict that underlies the world. The clash of cultures and worldviews is described in the novel through the symbolic pair of characters – Indian Westerner Adam Aziz and the local boatman Tai. Relations between the characters actualize the stratified systemic conflict (interpersonal, internal, religious-mythological, problem of choice). Subsequently, this conflict propels to the ontological level, reflecting the problem of heroes of finding their place in postcolonial world

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35

Upstone, Sara. "Domesticity in Magical-Realist Postcolonial Fiction Reversals of Representation in Salman Rushdie's Midnight's Children." Frontiers: A Journal of Women Studies 28, no. 1 (2007): 260–84. http://dx.doi.org/10.1353/fro.2007.0036.

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36

Rundholz, Adelheid, and Mustafa Kirca. "Reading Rushdie in Translation: Midnight's Children, Postcolonial Writing/Translation, and Literatures of the World." Translation and Literature 30, no. 3 (November 2021): 332–55. http://dx.doi.org/10.3366/tal.2021.0480.

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This article examines translations of Salman Rushdie's second novel, Midnight's Children, into French, German, Italian, and Turkish. Specific examples reveal that while all translators maintain a foreignizing stance toward the source text, their respective target languages and cultures make foreignizing a relative effect, dependent on the target language and target culture's distance from or proximity to the source text/culture. The article also argues that Rushdie's novel fits the notion of literatures of the world, because the translations replicate and also refract the source text in different contexts, thus effectively multiplying a single source novel to become plural in its multiple (language) worlds.

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37

Moody, Lisa. "Nineteenth-Century Narrative Techniques in Salman Rushdie's Midnight's Children and Rohinton Mistry's A Fine Balance." South Asian Review 27, no. 2 (June 2006): 25–47. http://dx.doi.org/10.1080/02759527.2006.11932440.

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38

Hawes, Clement. "Leading History by the Nose: The Turn to the Eighteenth Century in Midnight's Children." MFS Modern Fiction Studies 39, no. 1 (1993): 147–68. http://dx.doi.org/10.1353/mfs.0.1089.

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39

Rajamani, Ashok. "The Damned Mother and the Unnamed Other: Uncovering the Unconscious in Midnight's Children and Funny Boy." South Asian Review 26, no. 2 (December 2005): 162–80. http://dx.doi.org/10.1080/02759527.2005.11932407.

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40

Wexler, J. "What is a nation? Magic realism and national identity in, Midnight's Children and Clear Light of Day." Journal of Commonwealth Literature 37, no. 2 (August 1, 2002): 137–58. http://dx.doi.org/10.1177/002198902322439826.

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41

ÇETİN, Önder. "Finding the Self in the Otherness of Nature: The Sundarbans and Postcolonial Identity in Salman Rushdie's Midnight's Children." Ankara Üniversitesi Sosyal Bilimler Dergisi 10, no. 2 (June 30, 2019): 56. http://dx.doi.org/10.33537/sobild.2019.10.2.6.

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Doğa ve kültür arasında süregelen bir ikilik olmasına rağmen edebiyat eserlerinde insanlık durumunun belli bazı yönlerini betimlemek ve bilinçaltında nelerin olduğunu göstermek için doğadan yararlanıldığını görürüz. Bu kaçınılmazdır çünkü insan da doğanın bir parçasıdır. Bu insan durumlarından bir tanesi de savaş ve onun sebep olduğu travmadır. Savaşın yol açtığı travma ve tutarsızlık insanın kimliğini sorgulamasına ve hatta kaybetmesine kadar gidebilir ki bu noktada insan bu travmayı atlatma ve kimliğini bulma çabası içinde tekrar doğanın sağladığı sakinliğe dönebilir. Bu fiziki çevre bir orman ya da çöl olabilir. Bu makale Salman Rushdie'nin Geceyarısı Çocukları adlı romanının Sundarbans bölümünü eko eleştirel açıdan bir okumasını yaparak romanın baş karakteri Saleem Sınai'nin kimliğini dünyanın en güzel ve aynı zamanda en tehlikeli ormanlarından bir tanesinde bulmasını tartışmayı amaçlamaktadır. Saleem'in 1965 Hindistan-Pakistan savaşında bir asker olarak kimlik arayışı onu politik olarak sınırları en çok tartışılan Bangladeş ve Hindistan arasındaki devasa yağmur ormanına götürür. Bu bağlamda, Sundarbans'ın muğlaklığı mecazi olarak sömürgecilik sonrası kimliğin muğlaklığına karşılık gelmektedir. Eko eleştiri teorisi temelde ziksel mekan ile ilgilendiğinden bireysel kimliği odak noktası yapan sömürgecilik sonrası eleştirmenler tarafından şüpheyle karşılanır. Bu makale, aynı zamanda Saleem'in Sundarbans'ta yaşadıklarından yola çıkarak eko eleştirel ve sömürgecilik sonrası teorilerin farklı araştırma odaklarından kaynaklanan tartışmaları da uzlaşılabilecek ortak bir paydada birleştirmeyi amaçlamaktadır.

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42

Mukherjee, Ankhi. "Fissured Skin, Inner Ear Radio, and a Telepathic Nose: The Senses as Media in Salman Rushdie's Midnight's Children." Paragraph 29, no. 3 (2006): 55–76. http://dx.doi.org/10.1353/prg.2007.0006.

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43

White, Eva Roa. "In Search of Identity: Inner Diaspora and Psychic Healing in Rudyard Kipling's Kim and Salman Rushdie's Midnight's Children." South Asian Review 31, no. 2 (December 2010): 9–26. http://dx.doi.org/10.1080/02759527.2010.11932747.

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44

Rosenberg, Teya. "Magical Realism and Children's Literature: Diana Wynne Jones's Black Maria and Salman Rushdie's Midnight's Children as a Test Case." Papers: Explorations into Children's Literature 11, no. 1 (January 1, 2001): 14–25. http://dx.doi.org/10.21153/pecl2001vol11no1art1336.

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45

Fernée, Tadd Graham. "Systems and accidents in 20th century magical realist literature: Salman Rushdie's "Midnight's Children" and Sadegh Hedayat's "The blind owl" as critiques of modern nation-making experiments." English Studies at NBU 1, no. 2 (December 31, 2015): 55–70. http://dx.doi.org/10.33919/esnbu.15.2.4.

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This article compares two major 20th century magical realist novels - Salman Rushdie’s Midnight’s Children and Sadegh Hedayat’s The Blind Owl – as critiques of modern nation-making practices, in Nehruvian post-independence India and Iran under Reza Shah Pahlavi. The analysis centers the interplay of accidents and systems, in political constructions and contestations of modern self, history and knowledge. The works are assessed in terms of two aesthetic paradigms of modernity: Baudelaire’s vision of modernity as traumatic deracination involving new creative possibilities and freedom, and Cocteau’s vision of modernity as an Infernal Machine where a pre-recorded universe annihilates creative freedom. The political significance of these aesthetics are evaluated against the two distinctive nationalist narratives which the authors set out to contest in their respective novels. Both novels offer important critiques of violence. Yet both reveal a Proustian aesthetic of nostalgia, rejecting organized political action in the public sphere to celebrate imaginative introversion.

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46

Brickhouse, Anna. "Unsettling World Literature." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1361–71. http://dx.doi.org/10.1632/pmla.2016.131.5.1361.

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Simultaneous But Distant Events in Collision: In 1981, New York University (NYU) Celebrated the 150th Anniversary of its founding with a series of notable speakers and events; in rural Guatemala that year, the military began to carry out a policy of genocide against the Mayan Indians. In New York, the much-awaited English translation of Roland Barthes's treatise on photography, La chambre claire, appeared as Camera Lucida; in Nicaragua, the CIA-backed contras waged war on the Sandinista government, which had passed the Agrarian Reform Law to redistribute land to the campesinos who labored on it. In the United States, leading physicists announced advances “toward a unified theory”: “an integral work of art” made up of “threads in a tapestry,” a scientific weaving with the almost phantasmagorical ability to replace all “the confusion of the past” with “a simple and elegant theory” (Glashow 494-95). Abroad, magical realism officially became what Homi Bhabha would later call “the literary language of the emergent post-colonial world” (7). An example of the genre, Midnight's Children, by Salman Rushdie, won the Booker Prize. In the United States, magical realism came to stand, “as surely as Carmen Miranda's fruity cornucopias,” for a reified, homogeneous, and consumable “Latin America” (Molloy 374) and served as Latin America's new entrée into the exclusive party held by comparative literature. Gabriel García Márquez received the Nobel the following year.

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47

Betcher, Sharon V. "Revisiting 'Midnight’s Children'." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 3 (January 20, 2016): 311–34. http://dx.doi.org/10.1558/post.v7i3.20305.

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Within postcolonial literature, “Midnight’s Children” (Rushdie) their births laden not only with supernatural expectation, but traumatically marked with cultural upheaval—appear as symbols of hope in an unreliable future. Given the presence of disability in postcolonial literature, this essay pushes Christian theology to think with our own “midnight’s child”—one born “uncomely,” disfigured (Isaiah 53). “Disability”— never without some material signature, but always a cultural representation— names the ply of rhetoric batted back and forth between colonial and anti-colonial, these volleys shifting aesthetics and bending arcs of affect. Through the optics of modern realism, Jesus appeared as healer for the regime of “ablenationalism.” This essay, however, dares to think the figure of Jesus as volleyed back at Empire by anti-colonials. Reading with the Global South—namely, with the biblical scholar Simon Samuel and the constructive theology of Marcella Althaus-Reid—makes the figure of Jesus as postcolonial crip not wholly unprecedented.

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48

Hossain, Md Amir. "Magic Realism in Shakespeare’s The Tempest and Rushdie’s Midnight’s Children." Studies in Linguistics and Literature 2, no. 2 (May 10, 2018): 63. http://dx.doi.org/10.22158/sll.v2n2p63.

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<em>The aim of this paper is to examine a comparative study between Shakespeare’s The Tempest and Salman Rushdie’s Midnight’s Children in the light of Magic Realism. It aims to examine Shakespeare’s and Rushdie’s treatment of Magic Realism during 16th century England and 20th century India, respectively. For this propose, it attempts to portray some important characters, like Prospero, Caliban, and Ariel in the play, The Tempest and the narrator, Saleem Sinai in the novel, Midnight Children. It aims to look at applying the theory of Magic Realism made by prominent critics and scholars. It also wants to focus on magic, supernatural, occult, imagination, reality, and mystery. Both Shakespeare’s and Rushdie’s literary texts are analyzed within the parameters of these issues. Finally, this paper presents the art of characterization, themes and situations, writing forms, similarities and differences in various phases of the two famous writers.</em>

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49

ANUSUYA, A., and M. A. ENGLISH. "Historical Raid ON “Midnight’s Children”." Special Issue 5, Special Issue 1 (2019): 676–78. http://dx.doi.org/10.23883/ijrter.conf.20190322.088.gnnjp.

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50

Akila, C. "SUPERNATURALISM IN “MIDNIGHT CHILDREN." Special Issue 5, Special Issue 1 (2019): 673–75. http://dx.doi.org/10.23883/ijrter.conf.20190322.087.ueo6r.

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