Relevant bibliographies by topics / Roy, Arundhati - The God of Small Things

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Academic literature on the topic 'Roy, Arundhati - The God of Small Things'

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Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Roy, Arundhati - The God of Small Things"

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Birgani, Shiva Zaheri, and Maryam Jafari. "Arundhati Roy’s The God of Small Things (TGST): Diaspora." SIASAT 4, no. 2 (2020): 7–15. http://dx.doi.org/10.33258/siasat.v4i2.51.

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This paper attempts to analyze the mentioned novel based on postcolonial studies in Arundhati Roy's The God of Small Things. The concepts that can be mentioned in this novel are history, diaspora, hybridity, the role of women in Indian society, globalization, resistance and orientalism. These concepts are used from postcolonial theorists, Homi K. Bhabha . Colonization is a period of time. This is history itself. In developing the dominance of colonization, writers played a main role. Knowledge and power are the dominating themes that over-rule the deep nature of imperialism and literature. These themes indicate the superior literature, culture and tradition as the standard form of acceptance. Colonization is a period of time. This is history itself. In the result of the colonization, the migration and transition were not avoidable issues. Therefore, in this displacement, the new identity has been made. People’s customs, cultures and beliefs are mixed with colonizers’ unconsciously. India is a multicultural country. There are many various cultures in this country. And also during the colonization and the dominance of Britain over India, the changes were made in its customs and cultures. Arundhati Roy is an Indian writer and female activist.
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Birgani, Shiva Zaheri, and Maryam Jafari. "Arundhati Roy’s The God of Small Things (TGST): Diaspora." SIASAT 5, no. 2 (2020): 7–15. http://dx.doi.org/10.33258/siasat.v5i2.51.

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This paper attempts to analyze the mentioned novel based on postcolonial studies in Arundhati Roy's The God of Small Things. The concepts that can be mentioned in this novel are history, diaspora, hybridity, the role of women in Indian society, globalization, resistance and orientalism. These concepts are used from postcolonial theorists, Homi K. Bhabha . Colonization is a period of time. This is history itself. In developing the dominance of colonization, writers played a main role. Knowledge and power are the dominating themes that over-rule the deep nature of imperialism and literature. These themes indicate the superior literature, culture and tradition as the standard form of acceptance. Colonization is a period of time. This is history itself. In the result of the colonization, the migration and transition were not avoidable issues. Therefore, in this displacement, the new identity has been made. People’s customs, cultures and beliefs are mixed with colonizers’ unconsciously. India is a multicultural country. There are many various cultures in this country. And also during the colonization and the dominance of Britain over India, the changes were made in its customs and cultures. Arundhati Roy is an Indian writer and female activist.
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Momen Sarker, Md Abdul, and Md Mominur Rahman. "Intermingling of History and Politics in The God of Small Things." Advances in Language and Literary Studies 9, no. 4 (2018): 138. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.138.

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Suzanna Arundhati Roy is a post-modern sub-continental writer famous for her first novel The God of Small Things. This novel tells us the story of Ammu who is the mother of Rahel and Estha. Through the story of Ammu, the novel depicts the socio-political condition of Kerala from the late 1960s and early 1990s. The novel is about Indian culture and Hinduism is the main religion of India. One of the protagonists of this novel, Velutha, is from a low-caste community representing the dalit caste. Apart from those, between the late 1960s and early 1990s, a lot of movements took place in the history of Kerala. The Naxalites Movement is imperative amid them. Kerala is the place where communism was established for the first time in the history of the world through democratic election. Some vital issues of feminism have been brought into focus through the portrayal of the character, Ammu. In a word, this paper tends to show how Arundhati Roy has successfully manifested the multifarious as well as simultaneous influences of politics in the context of history and how those affected the lives of the marginalized. Overall, it would minutely show how historical incidents and political ups and downs go hand in hand during the political upheavals of a state.
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Bibi, Ambreen, Saimaan Ashfaq, Qazi Muhammad Saeed Ullah, and Naseem Abbas. "Class Struggle in “The God of Small Things” by Arundhati Roy (A Marxist Analysis of the Novel)." Review of Applied Management and Social Sciences 4, no. 1 (2021): 295–305. http://dx.doi.org/10.47067/ramss.v4i1.123.

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The aim of this study is to give a glimpse of class conflict depicted in the novel of Arundhati Roy “The God of Small Things”. Arundhati Roy seems to show that Marx perception of life is not without faults, having this conception Marxists believe that the proletariat class is nothing to lose but their unity. In this perspective the predominant view is that proletariat class has no privileges in India and this is the basic purpose of the study to reveal that it creates a sense of insecurity in the minds of those who are less considered in that society and they are mostly behaved less than the level of human. This research highlights that in the conception of Marxism all the workers should be united and there should be equality in the society.
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Hariharasudan, A., and S. Robert Gnanamony. "Feministic Analysis of Arundhati Roy's Postmodern Indian Fiction: The God of Small Things." GATR Global Journal of Business and Social Science Review (GJBSSR) Vol.5(3) Jul-Sep 2017 5, no. 3 (2017): 159–64. http://dx.doi.org/10.35609/gjbssr.2017.5.3(17).

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Objective - The aim of the research is to identify the feminist strains in the postmodern Indian Fiction The God of Small Things (TGST). The researcher has planned to investigate the text systematically for seeking feministic values. Methodology/Technique - The study reviews previous literature. Findings - Gender bias and feminism are relevant themes explored by postmodernists. Arundhati Roy portrays the predicament of women through her female characters belonging to three generations in this novel. In the novel, a sense of antagonism and division also infuse the difference senses of identity among the different generation of women. It also generates a line of the clash between the older and the younger generation. Family and political customs play a key role in disadvantaging women. Social constrains are so built up as to sanctify the persecution of women. This is because, in most of the civilizations, social structures are basically patriarchal. Arundhati's novel challenges this position, though her avowed feminist stance. Novelty - Women across the globe worldwide, nationwide, regionally and may be capable of holding the influential note of feminism and being capable of deconstructing a constructive implication of their own femaleness and womanhood after reading this paper. Type of Paper: Review Keywords: Feminism; Gender Bias; Patriarchal; Postmodernism; Downtrodden. JEL Classification: B54, H83.
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Mukherjee, Soumen. "AMMU’S MAN: RECONNOITERING THE MACHISMO OF VELUTHA IN THE GOD OF SMALL THINGS." Folia linguistica et litteraria XII, no. 34 (2021): 25–39. http://dx.doi.org/10.31902/fll.34.2021.2.

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Machismos, as is the instance with feminineness for women, are publically built gender profiles under which men are pigeonholed. The inferred affiliation between male bodies and machismos or masculinity presents us with an understanding of the sex/gender gap where ‘sex’ is seen as remaining a preeminence and ‘gender’ as a set of facets which are ancillary. New directions in feminist studies have begun to take up this issue of reconsidering or rediscovering masculinity, especially in the context of recent works of Literature. Arundhati Roy’s Man-booker award winning novel, The God of Small Things (1997) is predominantly a novel about battle- in and through the body. Velutha, “The God of Loss. The God of Small Things” (Roy 265), whose name in Malayalam means “white” (Roy 73, 175 and 334), the colour affiliated both to sorrow and sunlit, has been depicted by the writer as the emblem of masculinity. Arundhati Roy builds an account that focuses on bodily happenstances that rebel considerable discourses and function as edges of cultural and social acquaintances. This study has been enthused by the comprehension that the subject of masculinity in women’s writing has not yet been explored to that extent, which it was expected to be! Little attention has been given to the analysis of women’s writing with the tools that theories of virilities provide. What masculinities emerge in Roy’s The God of Small Things is the multi-layered, mongrel text, wavering between traversing valuations of indigenous acuities of the standing of the man, the bequest of interventionism, and the impresses of novelty and globalization! Hence, this study, not only reconnoiters the different traits of masculinity present in Velutha as envisioned by a female writer, but it also deliberates in detail the male identity construction.
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Sharma, E. V. A. "The God of Small Things: The Predicament of Untouchables and Subalterns in South Indian Society." Think India 22, no. 3 (2019): 597–600. http://dx.doi.org/10.26643/think-india.v22i3.8343.

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The God of Small Things, a contemporary Indian Classic by Arundhati Roy is an analysis of the nature of subalternization and its repercussion on the individual and on society as well. The present fictional work is chiefly an interpretation of political misuse, personal relationships, caste and class conflicts, distressing experience of family dispute, broken faith, love, marriage, loss of identity, and marginalization of women as a result of foolish male dominance. K M Pandey remarks:
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Palomar, Natalia. "Figuras de tragedia griega en "The god of small things" (Arundhati Roy, 1997)." Anuari de Filologia. Antiqua et Mediaeualia 2, no. 9 (2020): 179–92. http://dx.doi.org/10.1344/afam2019.9.2.17.

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Dentro del complejo entramado de esta novela, que nos adentra en la vida de tres generaciones de una familia de Kerala, se percibe una dinámica de tragedia griega. Las conexiones son múltiples: en los gemelos protagonistas reaparecen las vicisitudes de Electra y Orestes. También se reelabora la cuestión de la doble culpa edípica al implicar a Estha y Rahel – como pareja – en la muerte de su prima, un suceso que los marca desde su infancia. Además, la ambigua relación de la madre con su hijo e hija gemelos la hace comparable a Medea. Planeando sobre todo ello, destaca la exótica “mariposa nocturna de Pappachi”: su presencia perturbadora, semejante a la del tábano del mito griego, simboliza la maldición que atormenta a esta estirpe.
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Dizayi, Saman A. "Resistance and Identity in The God of Small Things Written by Arundhati Roy." Koya University Journal of Humanities and Social Sciences 4, no. 1 (2021): 70–75. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp70-75.

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This paper presents an analysis of the novel "The God of the Small Things" written by Arundhati Roy. The primary purpose of this paper is to evaluate the idea of resistance and identity that have been described in the novel by the novelist. It will be demonstrated in this novel that how the resistance against the traditions and norms of post-colonial era is related to the self-realisation. There are different kinds of resistance that have been depicted in the novel at various circumstances. In Postcolonial context identity is a complex concept to be located in just a simple definition or to be investigated throughout a single theoretical approach. Resistance as a concept linked to the identity question. The Novel handles this notion and throughout its plot, besides the burden that is left from the colonial legacy, gender identity comes to the surface. Though women resistance appears as a reaction with identity suppression; yet it is a reflection of self-identification of gender inequality under patriarchal traditions inherited from long dominant masculine power. This paper elaborates on each type of resistance and activism that arises against the feudal and patriarchal forces structured by the economic and politically influential people in the new community as a sample in India after postcolonialism. Consequently, one of the points that the research ends with is that the act of resistance validates the pursuit for self-identity, which is an attempt to renown, reclaim and rename the world.
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Singla, Sarla. "Confrontation of Protest against Male Chauvinism in Arundhati Roy’s the God of Small Things." International Journal of Linguistics, Literature and Culture 2, no. 3 (2016): 12. http://dx.doi.org/10.21744/ijllc.v2i3.157.

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Roy portrays women’s marathon struggle for seeking the sense of ‘identity’ in male dominated conservative framework breaking the age-old snackles and constraints and to assert her right to live her own way. Roy attacks the prevailing hypocrisy of the society which builds a great barrier between man and woman. The setup of the male dominated society is such that it has little or nothing to offer to the unfortunate forsaken women like Ammu's who are literally forsaken everywhere they go and the greatest pain of it all comes when they are inflicted by ones who are so called your ‘own people’.
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Dissertations / Theses on the topic "Roy, Arundhati - The God of Small Things"

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Longworth, Sarah Young. "Trauma and the ethical dilemma in Arundhati Roy's The God of Small Things /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/longworths/sarahlongworth.pdf.

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CHAN, Wing Yi Monica. "A stylistic approach to the God of Small Things written by Arundhati Roy." Digital Commons @ Lingnan University, 2007. https://commons.ln.edu.hk/eng_etd/2.

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This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy. Roy’s text drew the world’s gaze after winning the Booker Prize in 1997. Many studies have been written on diverse aspects of the book, and much has been said regarding the writer’s style. However, those studies rarely focus on the minutiae of Roy’s writing and this thesis provides a greater degree of detailed analysis. The objective is to achieve a deeper understanding of the relationship between style and literary aesthetics in The God of Small Things by studying the stylistic patterns behind Roy’s resonating poetic prose. The stylistic study is carried out adopting two approaches: the corpus-based approach (Part A) and the empirical-creative approach (Part B). The first section provides a stylistic analysis concentrating on the most significant stylistic features of the novel. The study is based on the list of style markers rendered by Leech and Short, Style in Fiction (1981) and elaborated according to the following key aspects that were extracted from the repertoire using my intuitive observation of the novel. These chosen style markers taken together represent key aspects of Roy’s style: (1) Lexis—Roy’s very frequent and particular utilization of adjectives; (2) Grammar—the high concentration of minor sentences and the listing of noun phrases in the text; (3) Figures of Speech— repetition and neologism. The second section presents a self-written pastiche which aims at imitating Roy’s style in literary prose and adapting its approach to a Chinese context. The creative process serves as an experiment on taking pastiche writing as an “experiential” approach to stylistics. In addition, since the resemblance of the pastiche to Roy’s style should not be the only value of the piece, some key themes in the original text are also reproduced. The analysis in Part A illustrates patterns of Roy’s stylistic choices. On the use of adjectives, Roy tends to arrange adjectival elements in sequence, construct a fixed “like” sentence structure, and adopt combining word forms and affective adjectives. On minor sentences, Roy chooses to separate adverbial phrases, sentence fragments starting with “like”, “as though”, and clauses beginning with “that”, “which”, “and”, “but”, “or”. As for repetitions, there is repeated use of set phrases, sentence patterns and recurrent appearance of certain lines and images. Lastly, on neologisms, Roy’s patterns of creating new words include hyphenation, direct merging, and prefix/suffix building. The pastiche is entitled Hong Kong Locust Stand I. By juxtaposing with the original, it is found that many stylistic features in The God of Small Things, are present in the pastiche, though with variation. While stylistic elements cannot totally be independent from the theme, the atmosphere, character and plot of the pastiche also demonstrate qualities representing those in Roy’s novel. The pastiche presents an innovative and respectful way to come to terms with Roy’s style through selective imitation and creative adaptation. In conclusion, it is hoped that this study opens the way for further hybrid studies of style that incorporate both analytical and creative approaches.
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Olsson, Angelika. "Arundhati Roy : Reclaiming Voices on the Margin in The God of Small Things." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8366.

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The aim of this essay is to critically consider Arundhati Roy’s novel The God of Small Things from a postcolonial feminist perspective, with a special focus on how she models different representations of women, taking as a background the discussions within postcolonial feminism about subalternity and the representations of women from the so-called Third World in theory and literature, as well as the concept of agency from Cultural Studies. This purpose is reached by studying and comparing three main female characters in the novel: Mammachi, Baby Kochamma and Ammu, centering on their different ways of relating to the male hero of the novel, Velutha, an Untouchable in the lingering caste system of India. The essay argues that Roy has contributed with diverse representations of subaltern women in the ‘Third World’ who—despite their oppressed and marginalized status—display agency and are portrayed as responsible for their own actions.
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Stockdale, Emily. "Language and the creation of characters in Arundhati Roy's The God of small things." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/stockdalee/emilystockdale.pdf.

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Camargo, Luciana Moura Colucci de [UNESP]. "The god of small things: uma voz poética entre o Oriente e o Ocidente." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/102416.

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Made available in DSpace on 2014-06-11T19:32:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-14Bitstream added on 2014-06-13T19:21:21Z : No. of bitstreams: 1 camargo_lmc_dr_arafcl.pdf: 4212129 bytes, checksum: 50fa4f58f8d18fc6016ee1ed375a6bc2 (MD5)<br>Este estudo apresenta uma análise da obra The God of Small Things, da escritora indiana Arundhati Roy (1961), na qual ficção e episódios históricos, relativos às conseqüências da colonização inglesa na Índia, mesclam-se em um espaço e tempo míticos, favorecendo uma análise baseada na Teoria da Narrativa Poética, conforme a formulação de Jean-Yves Tadié (1978). Com esse enfoque, são examinados vários aspectos ligados à narrativa como personagem, narrador, espaço, tempo, mito, estrutura e estilo, buscando compreender as vozes lírica e social da obra, que ecoam em seu universo híbrido, composto de elementos da cultura oriental e da ocidental.<br>This dissertation presents an analysis of the book written by the Indian writer Arundhaty Roy (1961), entitled The God of Small Things, in which, fiction and historical facts related to the consequences of the British colonization in India are brought together in a mythical setting that favors an analysis based on the theory of the lyrical novel, as presented by Jean-Yves Tadié (1978). With this approach, aspects related to the narrative genre, such as, character, narrator, setting, myth, structure and style are explored in order to reveal the lyrical and social voices that eco in its hybrid universe that mingles eastern and western cultural traits.
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Schneider-Krzys, Emily. ""For practical purposes in a hopelessly practical world ..." towards a new postcolonial resistance in Arundhati Roy's The God of small things /." Diss., Connect to the thesis, 2005. http://thesis.haverford.edu/136/01/2005Schneider-KrzysE.pdf.

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Hera, Culda Lucia. ""...life had been lived" : Gender performance and woman objectification in Arundhati Roy's The God of Small Things." Thesis, Linnéuniversitetet, Institutionen för didaktik och lärares praktik (DLP), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80346.

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This essay investigates women’s situation at home and in society, in Arundhati Roy’s The God of Small Things, from a gender performance perspective. The essay also explores the pedagogical implications of using the novel in the EFL classroom. The gender performance perspective is explored through the analysis of three female characters, Ammu, Mammachi and Baby Kochamma, whose lives reflect women’s struggle to escape traditional caste values, patriarchy and colonial power. The pedagogical perspective focuses on existing trends in literature and language teaching and the possibilities that postcolonial literary texts have to offer in the EFL classroom.
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Moura, Taís Leite de. "Transgressões em O Deus das Pequenas Coisas, de Arundhati Roy: níveis e motivações em contraponto." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03102018-134348/.

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No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance.<br>In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.
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Hollis, Victoria Caroline Bolton Jonathan W. "Ambassadors of community the history and complicity of the family community in Midnight's Children and the God of Small Things /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1668.

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Johansson, Emma. "Rahel : A Study of Self-Image in Arundhati Roy’s The God of Small Things." Thesis, Högskolan Dalarna, Engelska, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12627.

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Books on the topic "Roy, Arundhati - The God of Small Things"

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The god of small things, Arundhati Roy. A. Colin, 2002.

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Arundhati Roy's The God of small things: A reader's guide. Continuum, 2002.

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Mullaney, Julie. Arundhati Roy's The God of small things: A reader's guide. Continuum, 2002.

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The mind and the art of Arundhati Roy: A critical appraisal of her novel, the God of small things. Minerva Press, 2000.

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Arundhati Roy's the God of small things. Roman Books, 2012.

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Arundhati Roy's The god of small things. Routledge, 2007.

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Bala, Talwar Shashi, ed. Arundhati Roy's The god of small things: Critique and commentary. Creative Books, 1998.

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Arundhati Roy's the God of small things: A study in the multiple narratives. Prestige Books, 2007.

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Jaydipsinh, Dodiya, Chakravarty Joya, and Roy Arundhati, eds. The Critical studies of Arundhati Roy's The God of small things. Atlantic Publishers and Distributors, 1999.

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Prasad, Amar Nath. Arundhati Roy's the God of Small Things. Sarup & Son, 2005.

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Book chapters on the topic "Roy, Arundhati - The God of Small Things"

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Kreutzer, Eberhard. "Roy, Arundhati: The God of Small Things." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21860-1.

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Guttman, Anna. "Reexamining Indian Nonalignment: Arundhati Roy’s The God of Small Things." In The Nation of India in Contemporary Indian Literature. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230606937_6.

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Strehle, Susan. "Exiles and Orphans: Arundhati Roy’s The God of Small Things." In Transnational Women's Fiction. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583863_6.

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Alexandru, Maria-Sabina. "Towards a Politics of the Small Things: Arundhati Roy and the Decentralization of Authorship." In Authorship in Context. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206120_10.

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Forter, Greg. "Colonial Trauma, Utopian Carnality, Modernist Form: Toni Morrison’s Beloved and Arundhati Roy’s The God of Small Things." In Contemporary Approaches in Literary Trauma Theory. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137365941_4.

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Bahri, Deepika. "Make It New." In Modernism, Postcolonialism, and Globalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0007.

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In considering Arundhati Roy’s The God of Small Things (1997), the author observes that time is a central preoccupation in the novel. But how does postcolonialism situate itself in relation to a temporality whose structure, logic, and rhythm have been defined by the West and the experience of colonization? Roy responds to this problem by examining the figure of the Kathakali man, a native storyteller who uses dance, movement, and costume to relate stories derived from the Indian epics, the Mahabharata and Ramayana. Like the stories of the Kathakali man, Roy’s own narrative is disjunctive and recursive, generating a temporal scheme that is at once static and dynamic. Such a handling of time enables Roy to construct what the author calls a “postcolonial modernism,” which employs the formal devices of modernism to arrive at a more genuinely postcolonial engagement with the past and its historical traumas.
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7

Freed, Joanne Lipson. "Telling the Traumas of History." In Haunting Encounters. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501713767.003.0003.

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Abstract:
Focusing on the novels Ceremony, by Leslie Marmon Silko, and The God of Small Things, by Arundhati Roy, Chapter 2 uses trauma theory to explore how histories of imperial domination refuse to be confined to the past. These two novels invite readers to identify to varying degrees with their traumatized protagonists, holding out the possibility of a resistant and revisionary “history from below.” Ultimately, however, a careful analysis of these two works reveals how literary trauma theorists, in their eagerness to give voice to the voiceless, are too readily taken in by the imaginative construct of the third-person narrator. While individual characters in these novels may suffer the cognitive distortions of trauma, the fragmentary, non-linear account that their readers receive is, in both cases, mediated by the presence of a narrator whose choices are conscious, volitional, and strategic.
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8

"Text and contexts." In Arundhati Roy's The God of Small Things. Routledge, 2007. http://dx.doi.org/10.4324/9780203004593-8.

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9

"Critical history." In Arundhati Roy's The God of Small Things. Routledge, 2007. http://dx.doi.org/10.4324/9780203004593-9.

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10

"Critical readings." In Arundhati Roy's The God of Small Things. Routledge, 2007. http://dx.doi.org/10.4324/9780203004593-10.

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Conference papers on the topic "Roy, Arundhati - The God of Small Things"

1

Devika, Dr Devika. "Breaking the barriers to move beyond: a charismatic display of self belief in Arundhati Roy’s The God of Small Things and Manju Kapur’s Difficult Daughters." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312104.

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