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Journal articles 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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1

Birgani, Shiva Zaheri, and Maryam Jafari. "Arundhati Roy’s The God of Small Things (TGST): Diaspora." SIASAT 4, no. 2 (April 28, 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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2

Birgani, Shiva Zaheri, and Maryam Jafari. "Arundhati Roy’s The God of Small Things (TGST): Diaspora." SIASAT 5, no. 2 (April 28, 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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3

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 (August 31, 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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4

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 (March 31, 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 (June 23, 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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6

Mukherjee, Soumen. "AMMU’S MAN: RECONNOITERING THE MACHISMO OF VELUTHA IN THE GOD OF SMALL THINGS." Folia linguistica et litteraria XII, no. 34 (April 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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7

Sharma, E. V. A. "The God of Small Things: The Predicament of Untouchables and Subalterns in South Indian Society." Think India 22, no. 3 (September 11, 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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8

Palomar, Natalia. "Figuras de tragedia griega en "The god of small things" (Arundhati Roy, 1997)." Anuari de Filologia. Antiqua et Mediaeualia 2, no. 9 (March 5, 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 (June 30, 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 (September 2, 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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11

Lodhi, Muhammad Arfan, Faiza Khalid, Iqbal Mehmood, Faiz Rasool, Farhan Akbar, and Muhammad Amir Kamal. "Social and Physical Entrapments of Women in Bapsi Sidhwa’s Ice-Candy Man and Arundhati Roy’s The God of Small Things." English Language and Literature Studies 9, no. 2 (May 23, 2019): 57. http://dx.doi.org/10.5539/ells.v9n2p57.

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

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12

Janam, Dr Ram. "Social, Historical and Psychological Realism in Arundhati Roy’s The God of Small Things." SMART MOVES JOURNAL IJELLH 8, no. 5 (May 30, 2020): 70. http://dx.doi.org/10.24113/ijellh.v8i5.10583.

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The God of Small Things depicts realistic picture of the current issues of the typical Indian society. Arundhati Roy has tried her best to cover almost all the details of social and historical setting so that the readers may be able to acquaint with the pattern of living, daily routine, rites, customs, rituals and habits. The book explores how the small things affect people's behaviour and their lives. During that time in India, class was a major issue and still is in many parts of India. Inferiority complex is clearly visible in the interactions between Untouchables and Touchables in Ayemenem. The novel also shows that The Untouchables were considered polluted beings. Betrayal is also a constant theme in this story. Love, ideals, and confidence are all forsaken, consciously and unconsciously, innocently and maliciously, and these deceptions affect all of the characters deeply.

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Zaheri, Shiva, and Sayyed Rahim Moosavinia. "Feministic Analysis of Arundhati Roy's the God of Small Things in the Light of Post Colonialism." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 6, 2019): 172–81. http://dx.doi.org/10.33258/birci.v2i4.561.

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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, Edward W. Said and Homi K. Bhabha.Prominent issue is the role women in Indian society, because there are several female characters, such as Ammu, Rahel, and so on in TGST. Economic growth causes change in Ayemenem. It becomes a globalized community. Postcolonial resistance is an important issue in the novel. When Roy uses English language which it is a colonial language, she does a kind of resistance against colonization itself. Roy refers to the children’s life as a means of resistance.

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14

Khattak, Zahir Jang, Hira Ali, and Shehrzad Ameena Khattak. "Post-colonial Feminist Critique of Roys The God of Small Thing." Global Social Sciences Review IV, no. II (June 30, 2019): 344–49. http://dx.doi.org/10.31703/gssr.2019(iv-ii).44.

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The present study intends to thoroughly examine the Postcolonial feminist perspective in Arundhati Roys novel The God of Small Things by focusing on the theoretical approaches of Gaytri Spivak, Trinh T.Minha and Ania Loomba. The ambivalent personality of colonized women is tarnished due to subalternity imposed by the patriarchal culture of India. The destructive nature of the Western Imperialism forced the people to endure wild oppression by British colonizers. Postcolonialism paved the way for the double oppression of women. Women became the victim of not only British Imperialists but also native cultural patriarchy. Roy successfully intricates three generations of women i.e Baby Kochamma, Mammachi, Ammu, and Rahel into the fabric of the novel to acme the plight of women in the Third World Nations..

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Dhami, Prem Bahadur. "Arundhati Roy’s The God of Small Things as the Story of Childhood: Children’s Perspective of Traumatic Experiences." SCHOLARS: Journal of Arts & Humanities 3, no. 2 (August 28, 2021): 125–34. http://dx.doi.org/10.3126/sjah.v3i2.39436.

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This paper analyzes the novel The God of Small Things written by Arundhati Roy, which is the childhood reflection of her own. The novel reflects the seduction and solicitation and its psychological impacts on the characters as they are affected by the society, especially by the elite people and the government officials. The novel is analyzed using the concepts of childhood studies – particularly Joseph L. Zornado’s concept of “Black Pedagogy” as the tool for textual analysis. The self-cited statements of the characters provide additional strength to the tool. Roy by the help of various characters like Estha, Velutha, Ammu and Rahel depicts the suffering due to the caste and class differences among the society and the high profile people.

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Sheba Elsa Jose. "The Trauma of Being a Woman: Oppression of Women in Arundhati Roy’s The God of Small Things." Creative Launcher 6, no. 1 (April 30, 2021): 159–66. http://dx.doi.org/10.53032/tcl.2021.6.1.18.

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All around the world violence against women occurs daily. In India also women are subjected to oppression and humiliation in several ways day by day. Indian women are mainly oppressed because the country is built around a patriarchal mind set. Patriarchy is a social system in which each and everything in the family is controlled and decided by the males. They have the roles of political leadership, moral authority and property ownership. The patriarchal idea is that a woman’s only duty is to serve her father, brothers and her husband. Arunhati Roy’s The God of Small Things is a novel which is set in a patriarchal society. Breaking laws, forbidden relationships, the changing social order, oppression of women etc. are its main themes. This novel shows how differently men and women are treated according to the unwritten social norms. Women who stand against men and society are considered as the other and they will be punished accordingly. The present article analyses how Roy portrays an unpleasantly difficult situation of Indian women against the setting of Ayemenam, a southern Indian state of Kerala where the chain of relationships are very complex which traps the female characters subjecting them to repeated suppression.

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Mrak, Anja. "“You are the victims, not the perpetrators”: Narrating Violence and Trauma in Arundhati Roy’s The God of Small Things." Ars & Humanitas 12, no. 1 (July 20, 2018): 244–57. http://dx.doi.org/10.4312/ah.12.1.244-257.

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In her 1997 novel The God of Small Things, Arundhati Roy confronts the problem of caste violence, inextricably bound up with other practices of social domination such as patriarchy, racism, colonialism and neocolonialism, through a complex narrative structure. The conventional story about a tragic love between a woman from a higher caste and a member of the untouchables skilfully evades cliché patterns by employing eccentric focalisers, as we experience most of the story through the lenses of multiple-person narrators, twin brother and sister, Rahel and Estha, magical realism, and a disjointed narrative full of prolepses and analepses which subtly renders traumatic memories. The novel is structured as a prototypical trauma narrative and stages a confrontation with an unresolved traumatic event from which Rahel and Estha have been recovering since childhood. Roy deftly transposes the dualism of caste purity and impurity onto the narrative structure. The narrative is caught within a duality (symbolised already by the twins) and a perpetual repetition which represents not only the eternal return of trauma but also the constant tension which derives from the hegemony of the caste system and the violence it produces. The biopolitics of social mechanisms and structures which disciplines the individual’s body, controls his actions, rectifies and sanctions transgressions is at the heart of the novel. It raises the individual into obedience and restraint with the help of state institutions, and regulates them into an inconspicuous collective body in the name of security, unity and higher common goals. Socio-political mechanisms are legitimised and reaffirmed through violence as well, which is not understood as such, but rather as a necessary “measure” and “duty” to uphold the law.

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18

Mrak, Anja. "“You are the victims, not the perpetrators”: Narrating Violence and Trauma in Arundhati Roy’s The God of Small Things." Ars & Humanitas 12, no. 1 (July 20, 2018): 244–57. http://dx.doi.org/10.4312/ars.12.1.244-257.

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In her 1997 novel The God of Small Things, Arundhati Roy confronts the problem of caste violence, inextricably bound up with other practices of social domination such as patriarchy, racism, colonialism and neocolonialism, through a complex narrative structure. The conventional story about a tragic love between a woman from a higher caste and a member of the untouchables skilfully evades cliché patterns by employing eccentric focalisers, as we experience most of the story through the lenses of multiple-person narrators, twin brother and sister, Rahel and Estha, magical realism, and a disjointed narrative full of prolepses and analepses which subtly renders traumatic memories. The novel is structured as a prototypical trauma narrative and stages a confrontation with an unresolved traumatic event from which Rahel and Estha have been recovering since childhood. Roy deftly transposes the dualism of caste purity and impurity onto the narrative structure. The narrative is caught within a duality (symbolised already by the twins) and a perpetual repetition which represents not only the eternal return of trauma but also the constant tension which derives from the hegemony of the caste system and the violence it produces. The biopolitics of social mechanisms and structures which disciplines the individual’s body, controls his actions, rectifies and sanctions transgressions is at the heart of the novel. It raises the individual into obedience and restraint with the help of state institutions, and regulates them into an inconspicuous collective body in the name of security, unity and higher common goals. Socio-political mechanisms are legitimised and reaffirmed through violence as well, which is not understood as such, but rather as a necessary “measure” and “duty” to uphold the law.

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Sá, Luiz Fernando Ferreira. "O espaço liminar das listas em romances em inglês." Scripta 22, no. 44 (June 15, 2018): 93–104. http://dx.doi.org/10.5752/p.2358-3428.2018v22n44p93.

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A esperança, a imagem e a resposta utópicas discutidas por Terry Eagleton e Georg Lukács se tornam evidentes em The studhorse man de Robert Kroetsch, Waiting for the barbarians de J. M. Coetzee, The god of small things de Arundhati Roy e City of god de E. L. Doctorow na maneira que os conflitos são, se não resolvidos, pelo menos revestidos de uma aparência insólita nas coisas e objetos inventariados em listas. Proponho pensar como as listas nos referidos romances participam na ruptura da linguagem, no colapso da narrativa, no confronto de perspectivas, na fragilidade do valor e na vacuidade de sentido. Estes romances em inglês tendem a nos dar um tipo de atalho na percepção por meio do uso de listas, enumerações e inventários, os quais suspendem a linguagem, a narrativa, a subjetividade, o valor e o sentido, em sua confusa voracidade e infinidade.

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Khan, Imam Alam. "Sensibility of the Novel “The God of Small Things” Personifies Realities where Meaning Plays the Protagonist." Studies in English Language Teaching 3, no. 3 (September 16, 2015): 275. http://dx.doi.org/10.22158/selt.v3n3p275.

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<p><em>The novel, “The God of Small Things”, is a Booker Prize winner fiction. It is obviously a thought-provoking novel with an apparent viewpoint. It is</em><em> </em><em>a novel by Arundhati Roy, an Indian</em><em> </em><em>writer. The novel is a story of stories where conflicting ideas of various subjects play vital roles. The subjects appear to be really striking. The style is marvelous. The plot construction is excellent, and the characterization is superb. Language is unique. It’s a worldwide acclaimed novel. The novel speaks on subjects like love, madness, joy, cast-discrimination, women’s exploitation and most importantly the conflict between the Laltain (lantern), the big people, and Mombatti (candles), the small people, which represent the class antagonism. All these antagonisms transform into a meaning. The novelist projects so many meanings together and tries to weave a story on Ammu, the protagonist of the novel. She has created a world where the readers feel the conflict between the social antagonisms and emotional meanings.</em><em> </em><em>The novelist, Arundhati</em><em> </em><em>Roy, has tried her best to evolve a literal as well as a figurative meaning of emotions. The readers feel spellbound emotions when they start reading the novel and pass through the strong throng until they finish the novel. The novelist succeeds in making her readers feel a trance. They emotionally find themselves in a pang of emotions which remains until the end of the novel. Though the novel is full of many obscurities where the readers fail to understand the obscure images and local languages in the novel, yet they feel satisfaction at the end as it discusses sensibility of the society.</em><em> </em><em>The reality apparently transforms itself into a crystal clear meaning of life which is very vital to the novelist as well as to the readers. The meaning of life, reality, appears like a protagonist. Hence, the novel under research is under scrutiny about the idea of reality appearing like protagonist.</em><em> </em><em>It is undoubtedly a very successful novel. Readers have liked it very much. The critics have found it interesting. It has been the best seller, too. Thus, this research is trying to find out the answer of the question, Is</em><em> </em><em>the novel really successful in arousing a sensibility? Is the meaning of life appears life-like? Does it personify reality of life? Consequently, this research paper has tried to find out the answers for the posted queries. </em><em>Moreover</em><em>, the obvious answer is, yes it does. It personifies the realities of the tragedies of the protagonists: Ammu and Velutha.</em></p>

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Tahreem, Sundas, Inayat Ullah, and Tariq Khan. "Binarism, Identity (Crisis) and Power Structures in Postcolonial Anglophone Fiction: Analyzing Discursive Strategies in The God of Small Things." International Journal of English Linguistics 10, no. 5 (July 8, 2020): 100. http://dx.doi.org/10.5539/ijel.v10n5p100.

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Binary relationship among people of a particular society creates a power correlation that becomes a common social practice of that society with the passage of time. Social structure is based on power structure of any society that defines social identities on the basis of collective social ideology. The present study is based on Fairclough’s approach to Critical Discourse Analysis (CDA) that takes discourse as social practice. In this study, an effort has been made to show how social practices create power imbalance in the society. The objectives include study of binary relationships that establish power relationships, role of power structures to define social identities, role of ideology to maintain power and hegemony in social structures and to bring into the limelight the resistance of oppressed class against power structures. The study is delimited to the novel, The God of Small Things by Arundhati Roy, and Postcolonial binarism is applied for analysis of the text. Binary relationships of the society have been exclusively studied through Fairclough’s approach to CDA. The analysis shows that social identities are ideologically driven on the basis of power relationships and it is due to ideological construction that certain group of people sets up hegemony and dominated group gives its consent to dominant group. Firstly, discourse forms knowledge which defines social relationship. Secondly, ideology is constructed due to power relationships. Lastly, social roles construct social identities on the basis of ideology. Roy also has created some economically weak and socially marginalized characters in her novel which try to go against established social practices to bring disorder in the hierarchy of social structure. The study has research implications for the fields of Language and Literature as the evaluation deals with the exploration of a literary text through the lens of the theories of language and literature. Researchers can also further the scope of the present study by conducting an exclusive and comprehensive study of the selected novel on marginalization of women in the given society.

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Ameen, Hishryar M. "LAND AND ITS RELATIONSHIP TO POSTCOLONIAL PERSPECTIVES IN AMA ATTA AIDO’S PLAY “ANOWA” AND ARUNDHATI ROY’S NOVEL “THE GOD OF SMALL THINGS”." Humanities Journal of University of Zakho 5, no. 2 (June 30, 2017): 502. http://dx.doi.org/10.26436/2017.5.2.400.

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This paper discusses the issue of land within the postcolonial perspective. Land has always been a shelter protecting nations from disappearing. In this context, land for the postcolonial people does not only represent a specific area in the globe, but more as a sign of their identity and recognition. The placement and displacement of people from their land means much more than simply leaving to another zone, but it refers to the whole element of identity, culture, language, and existence. This research studies two literary works written by writers from colonialized nations. It aims at exploring the theme of land and the identity by two writers from two different nations; from India and Ghana. The text “The God of Small Things” was written by an Indian writer named Arundhati Roy, while the other text is “Anowa” written by Ama Atta Aidoo. The concept of land was pictured in the works of these two writers as the source of being and existence of the nations. This paper is divided into several sub topics. First, it gives an introduction. Then it discusses land in the perspective of postcolonial literature. Next, it explains the objectives behind the opening sentences of the two texts. Following this part, the paper shows the importance of land being the identity of nations. Subsequently, land has become the source of being and life. Consequently, it propose homeland as the best place for living of a nation and the importance of one sticking to their home and serving it. Finally, it comes to a conclusion that people should raise their national spirit towards their place of origin and serve it in order to avoid future colonialism campaigns and prevent the consequences.

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Chae, Youngsuk. "Postcolonial ecofeminism in Arundhati Roy’sThe God of Small Things." Journal of Postcolonial Writing 51, no. 5 (July 30, 2015): 519–30. http://dx.doi.org/10.1080/17449855.2015.1070010.

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Priyanka Maral, Priyanka Maral. "Ecocriticism in Arundhati Roy’s The God of Small Things." IOSR Journal of Humanities and Social Science 10, no. 4 (2013): 40–42. http://dx.doi.org/10.9790/0837-1044042.

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Tickell, Alex. "The God of Small Things: Arundhati Roy’s Postcolonial Cosmopolitanism." Journal of Commonwealth Literature 38, no. 1 (March 2003): 73–89. http://dx.doi.org/10.1177/0021989404381007.

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SEHGAL, VIKRANT. "Arundhati Roy’s The God of Small Things: A Communist Critique." Dev Sanskriti Interdisciplinary International Journal 5 (January 15, 2015): 07–14. http://dx.doi.org/10.36018/dsiij.v5i0.51.

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When Arundhati Roy’s semi-autobiographical novel, The God of Small Things, was published in 1997, it received both praise and criticism. While many critics and reviewers from around the world praised it for its technical virtuosity and thematic concerns, the voices and reactions heard from Roy’s native country, India, were disconcerting. In Kerala, a state in the south-west coast of India, where the story takes place, conservative Christians and hardline communists alike stood against the novel’s publication and distribution in India, despite the positive media attention Kerala would draw through this Booker prize winning novel. The reactions of the members of the Church and the communist party, who have revolutionized the Kerala society from time to time, make one curious about the moral and ideological controversy of Roy’s narration. Was it really her critique of communism that angered the critics, or was it her careful unraveling of something unexpected and hideous in the political and religious establishments in Kerala? This paper shows Roy’s promotion for Communism with reference to The God of Small Things.

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Giri, Bed Prasad. "Representing the Subaltern: Arundhati Roy's The God of Small Things." South Asian Review 23, no. 2 (December 2002): 16–17. http://dx.doi.org/10.1080/02759527.2002.11932259.

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이정화. "New Orientalism and Arundhati Roy’s The God of Small Things." English & American Cultural Studies 15, no. 3 (December 2015): 271–88. http://dx.doi.org/10.15839/eacs.15.3.201512.271.

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Kumar, Sunil. "Downtrodden Society in Arundhati Roy's The God of Small Things." International Journal of English Literature and Social Sciences 5, no. 5 (2020): 1602–5. http://dx.doi.org/10.22161/ijels.55.39.

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Lobnik, Mirja. "Sounding Ecologies in Arundhati Roy’s The God of Small Things." MFS Modern Fiction Studies 62, no. 1 (2016): 115–35. http://dx.doi.org/10.1353/mfs.2016.0001.

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Dingwaney Needham, Anuradha. "‘THE SMALL VOICE OF HISTORY’ IN ARUNDHATI ROY'STHE GOD OF SMALL THINGS." Interventions 7, no. 3 (November 2005): 369–91. http://dx.doi.org/10.1080/13698010500268072.

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Kim, Sung Ryol. "Arundhati Roy’s The God of Small Things : An Indictment of Patriarchy." British and American Language and Literature Association of Korea 129 (June 16, 2018): 223–40. http://dx.doi.org/10.21297/ballak.2018.129.223.

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Gupta, Dr Gouri. "ARUNDHATI ROY’S ART AND CRAFT IN THE GOD OF SMALL THINGS." Alford Council of International English & Literature Journal 03, no. 04 (2020): 01–09. http://dx.doi.org/10.37854/acielj.2020.3401.

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Giri, Pradeep Kumar. "Arundhati Roy’s The God of Small Things: Traumatic Distress in Children." International Journal of English Literature and Social Sciences 5, no. 5 (2020): 1431–34. http://dx.doi.org/10.22161/ijels.55.14.

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Ganaie, Altaf Ahmad. "Social Realism in Arundhati Roy’s Novel “The God of Small Things." Indian Journal of Applied Research 4, no. 7 (October 1, 2011): 284–85. http://dx.doi.org/10.15373/2249555x/july2014/89.

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Kunhi, Rukhaya M., and Zeenath Mohamed Kunhi. "An Ecocritical Perspective of Arundhati Roy’s The God of Small Things." SAGE Open 7, no. 2 (April 2017): 215824401771276. http://dx.doi.org/10.1177/2158244017712767.

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Fatmawati, Dwi, and Irana Astutiningsih. "MULTILAYER RACISMS AS REPRESENTED IN ARUNDHATI ROY’S THE GOD OF SMALL THINGS." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 21, no. 1 (January 5, 2020): 19. http://dx.doi.org/10.19184/semiotika.v21i1.12848.

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This article discusses racism in India as illustrated in Arundhati Roy’s The God of Small Things. The novel contains racism issues in India in 19th century. In the novel, not only is racism experienced by coloured people as a result of white people discriminating them, but also among the coloured people themselves, experienced by those considered inferior based on caste. The research aims at figuring out how racism is constructed in The God of Small Things as well as knowing the ideological position of the author. Hence, Hall’s representation theory is used in this research focusing on discursive approach. The result shows that the author criticizes racism and people’s classification based on caste.

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Célérier-Vitasse, Joëlle. "The Blurring of Frontiers in Arundhati Roy's The God of Small Things." Études anglaises 61, no. 1 (2008): 68. http://dx.doi.org/10.3917/etan.611.0068.

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Outka, Elizabeth. "Trauma and Temporal Hybridity in Arundhati Roy's The God of Small Things." Contemporary Literature 52, no. 1 (2011): 21–53. http://dx.doi.org/10.1353/cli.2011.0019.

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Zaheri Birgani, Shiva. "Arundhati Roy’s: The God of Small Things: As a Hybrid Linguistic Text." International Journal of Information and Communication Sciences 4, no. 2 (2019): 35. http://dx.doi.org/10.11648/j.ijics.20190402.11.

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Sharma, Maya M. "Translating Subjects to Selves In Arundhati Roy's The God Of Small Things." South Asian Review 25, no. 2 (December 2004): 124–34. http://dx.doi.org/10.1080/02759527.2004.11932349.

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Dhakal, Sedunath. "Interface between Subalternity and Sexuality in Arundhati Roy’s The God of Small Things." KMC Research Journal 3, no. 3 (June 13, 2019): 135–42. http://dx.doi.org/10.3126/kmcrj.v3i3.35720.

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There is an interface between subalternity and sexuality in Arundhati Roy’s ‘The God of Small Things’. This article attempts to describe that sexuality has been stood as a form of protest and resistance against all forms of discrimination and prejudices against subaltern groups. The central characters of the novel, Velutha, and Ammu’s copulation with each other is implicitly an attempt to break the artificial and arbitrary walls constructed between the so called elite class and the subaltern groups. Thus, the sexuality can be discussed as a means of liberation from the chain of subalternity. However, the attempt was averted when the protesters (Velutha and Ammu) confront the mechanical society. The act of copulation exposed the subalternity of Velutha and sexuality of Ammu. Both Ammu and Velutha cross the social boundary. So called marriage system and love laws both have been transgressed upon. It is due to the sexual act, the so called authentic laws and systems have been broken, all things dismissed, impossible become possible. Such instinct is uncontrollable. This article analyses that in the matter of sex, so called touchable and untouchable, master and servant, so called higher class and lower caste all become equal; there remains no boundary at all; as it has been presented in Arundhati Roy’s The God of Small Things.

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Rizvi, Shaima. "Building a Story: The Architecture of Arundhati Roy's The God of Small Things." South Asian Review 35, no. 2 (October 2014): 129–41. http://dx.doi.org/10.1080/02759527.2014.11932974.

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Thapa, Dharma. "The Politics of Eroticism: Political Writing and Arundhati Roy's The God of Small Things." Crossing the Border: International Journal of Interdisciplinary Studies 1, no. 1 (May 23, 2014): 51–58. http://dx.doi.org/10.3126/ctbijis.v1i1.10468.

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This article analyses the erotic relationships between sexes depicted in Arundhati Roy’s novel The God of Small things in the binary opposition: those based on bourgeois patriarchal dominance and that based on equality and mutual respect. It focuses on the relationship between Ammu and Velutha as love, in diametrical contrast with the former pattern, based on independent choices and guided and inspired by radical politics. DOI: http://dx.doi.org/10.3126/ctbijis.v1i1.10468 Crossing the Border: International Journal of Interdisciplinary Studies Vol.1(1) 2013; 51-58

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Valero Redondo, María. "Secrecy, Community and Counter-History in Arundhati Roy’s 'The God of Small Things' (1997)." Complutense Journal of English Studies 28 (November 24, 2020): 63–70. http://dx.doi.org/10.5209/cjes.63856.

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This article explores the different types of communities and the role of secrecy and counter-history in Arundhati Roy’s The God of Small Things (1997), a novel in which secrecy plays a crucial role and in which the most genuine human relations are characterized by a desire to participate in otherness. This article examines Roy’s subversion of the operative community by considering: (a) the different communitarian organizations in The God of Small Things, from the most organic (the caste system, patriarchy, religious institutions, communism and the commodification of culture) to the least organic (the community of Others and the community of lovers); (b) the connection between alterity, finitude and secrecy as preventing the unworked community from organicist fusion; (c) the link between alterity, finitude, secrecy and counter-history. Although ingrained within a deeply organicist community, the main characters in Roy’s novel prove to have a vigorous capacity to trespass communitarian boundaries and to expose themselves to otherness.

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손석주. "Cultural Imperialism, Interpellation, and Speaking Back in Arundhati Roy’s The God of Small Things." English21 27, no. 4 (December 2014): 351–71. http://dx.doi.org/10.35771/engdoi.2014.27.4.016.

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Ilyas, Sobia. "The Subaltern Voice in Arundhati Roy’s “The God of Small Things”: A Postcolonial approach." International Journal of English Literature and Social Sciences 4, no. 6 (2019): 1922–28. http://dx.doi.org/10.22161/ijels.46.46.

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Khan, Rashid. "FEMINISTIC READING OF ARUNDHATI ROY’S THE GOD OF SMALL THINGS IN AN INDIAN PERSPECTIVE." International Journal of Advanced Research 6, no. 1 (January 31, 2018): 1312–16. http://dx.doi.org/10.21474/ijar01/6352.

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Benoit, Madhu. "Circular time: A study of narrative techniques in Arundhati Roy'sthe god of small things." World Literature Written in English 38, no. 1 (January 1999): 98–106. http://dx.doi.org/10.1080/17449859908589315.

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Zaheri Birgan, Shiva, and Sayyed Rahim Moosavinia. "The Study of Arundhati Roy’s The God of Small Things: History, Diaspora, Hybridity, Women." Arabic Language, Literature & Culture 4, no. 1 (2019): 21. http://dx.doi.org/10.11648/j.allc.20190401.13.

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