Pub Date : 2022-08-25DOI: 10.3126/jodem.v13i1.47457
Asmita Bista
The anthology of stories Jiyara by Nayan Raj Pandey unveils the violence against women in Madhes. The anthology explores the plights of Madhesi women who are victimized by patriarchal agents, but the stories also depict the women who courageously fight against the impostors. So, the article investigates the problems faced by the Madhesi women in the society that is driven by patriarchy, in the stories “Jiyara” and “Laila O Laila”. It navigates the causes of the oppression, abuse, and violence against women in Madhesi community. The article analyzes the ways that are deployed by the Madhesi women to react against the patriarchy. To address these objectives, feminist theory, mainly theory of radical feminist Kate Millet has been used. Kate Millet brings up the idea that men create and maintain patriarchy because they own resources. Likewise, patriarchy helps them to enslave women. So, in order to fight for sexist exploitation and oppression, women need to reject the subordinated position set for them by patriarchal society. The significance of this study is to contribute to a different perspective for the reader to see the anthology Jiyara because in this text, Pandey highlights the problems faced by Madhesi women due to the socio-cultural practices that endorse males’ domination. The paper concludes that in “Jiyara”, major female characters get victimized by patriarchal social system, whereas the female characters of “Laila O Laila” stand starkly against the violence and suppression done to them by their male counterparts, when it transcends their tolerance.
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Pub Date : 2022-08-25DOI: 10.3126/jodem.v13i1.47471
Indira Mishra
Editorial
编辑
{"title":"Editorial Vol.13(1)","authors":"Indira Mishra","doi":"10.3126/jodem.v13i1.47471","DOIUrl":"https://doi.org/10.3126/jodem.v13i1.47471","url":null,"abstract":"Editorial ","PeriodicalId":146884,"journal":{"name":"JODEM: Journal of Language and Literature","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134276806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.3126/jodem.v13i1.47468
R. Gurung
The study employs the performance theory to analyze Ghā̃tu performance and Balan dance. They are popular cultural activities because of the beauty of artistic presentations with historical values. This bond symbolizes the harmonious relations of human beings. The network of dance masters, dancers, and audiences plays a vital role in performance. They are bound in such a way that they cannot get separated. Because of such cultural activities, man-to-man relations become strong in village life compared to urban life. After the dance masters begin to sing, the dancers begin dancing in full accordance with the words and tunes. As a result, audiences also perform the same indirectly. The performance audience is much more worth having than the performance of the two. In the performance, all the audiences get connected unknowingly. Physically, only the dance master and dancer perform but mentally, the audiences also perform at the same rate. Performance theory calls this kinesthetic impact, and kinesthetic impact is such an impact that moves the audience. It is not only the singer singing the song and the dancer dancing, it is the audiences who are singing and dancing simultaneously. Thus, this paper focuses on Ghā̃tu and Balan in the context of human identities, although a few researchers have worked on this site. The dancing art of Ghā̃tu and Balan is very peculiar and incomparable to hundreds of other dance performances. So, the performativity of both dances surprises the audience.
{"title":"A Comparative Study of Ghā̃tu Performance and Balan Dance","authors":"R. Gurung","doi":"10.3126/jodem.v13i1.47468","DOIUrl":"https://doi.org/10.3126/jodem.v13i1.47468","url":null,"abstract":"The study employs the performance theory to analyze Ghā̃tu performance and Balan dance. They are popular cultural activities because of the beauty of artistic presentations with historical values. This bond symbolizes the harmonious relations of human beings. The network of dance masters, dancers, and audiences plays a vital role in performance. They are bound in such a way that they cannot get separated. Because of such cultural activities, man-to-man relations become strong in village life compared to urban life. After the dance masters begin to sing, the dancers begin dancing in full accordance with the words and tunes. As a result, audiences also perform the same indirectly. The performance audience is much more worth having than the performance of the two. In the performance, all the audiences get connected unknowingly. Physically, only the dance master and dancer perform but mentally, the audiences also perform at the same rate. Performance theory calls this kinesthetic impact, and kinesthetic impact is such an impact that moves the audience. It is not only the singer singing the song and the dancer dancing, it is the audiences who are singing and dancing simultaneously. Thus, this paper focuses on Ghā̃tu and Balan in the context of human identities, although a few researchers have worked on this site. The dancing art of Ghā̃tu and Balan is very peculiar and incomparable to hundreds of other dance performances. So, the performativity of both dances surprises the audience.","PeriodicalId":146884,"journal":{"name":"JODEM: Journal of Language and Literature","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126487249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38728
T. Shrestha, Bidhya Shrestha, Dipankar Senehang, B. Timsina, Pradeep B.K.
This article overviews the resistance of the subaltern and the ongoing debate on seeking the subaltern consciousness within and outside the elitist structure. The first part of this article exposes the notion of subaltern and subaltern resistance consciousness concerning the development of the Nepali film industry. The second part discusses different dimensions of resistance of the subaltern in shifting politico-cultural contexts. It also unfolds the structure of representation of the subaltern transformed within transitions which are observed more vehemently through the different politico-cultural scenarios of filmmaking, particularly before and after the Maoist insurgency. The last part analyses the aspects or efforts of the self-formation of the subaltern in terms of- along with class- caste, ethnicity and gender with references to representative Nepali movies, i.e. Numafung, Batomuniko Phool and Uma flash hope within hopelessness.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38725
Ramesh Kumar Limbu
Folklore studies, also known as folkloristics, studies customs, traditions, artifacts and beliefs being transmitted from past generations to the present. Transmission of these artifacts is a vital part of the folklore process. This article examines how Limbu love song, known as palam, splendidly characterizes the multiple aspects of love functioning as a sense of propriety and decorum. Palam is a popular folksong in Yakthung Limbu community of Nepal. It is also sung in many other countries of the world where Limbu community populate including India, Bhutan and Myanmar. Focusing on the text Char Maya Palam by Ambika Kumar Sambahamphe, the study attempts to analyse how the palam or Limbu love song, which is sung while dancing ya?lang, undeniably holds substantial popularity and esteemed value in Limbu traditional folksongs.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38709
Arvind Dahal
This study endeavors to explore Lennon’s songs as an expression of rage and rebellion of the common Americans against the bitter realities of the contemporary American war politics of the 1960s and 70s and of the prevailing socio-economic and cultural injustices. It illumines a reality that alternative cultures like drugs, alcohol, homosexuality, nomadism and mystic vision, perceived reprehensible by the contemporary mainstream culture, were in fact manufactured out of harsh American socio-political context. By projecting the painful experiences of the victims during the time of war, the research engages with the extraction of themes like terror of the nuclear arms race and poverty, racism, prison and war, buried in Lennon’s compositions and thereby revealing Lennon’s association with such subcultures to counter and to subvert the mundane, the rationality and material hunger of the mainstream culture in the then America.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38715
Bhawana Pokharel
A girl though born and bred as a female whether remains a woman or challenges the socially assigned stereotypical sexual identity and becomes a human, is the matter of her choice. Chetan Bhagat’s One Indian Girl best illustrates this issue with a suggestive note for the latter. The central character Radhika Mehata, the Indian girl, is his mouthpiece in the novel. This paper analyzes the socio-cultural making of a woman across cultures with critical insights envisioned by Simone De Bauvoir in her seminal book The Second Sex and Sturt Hall’s notion of ‘being’ and ‘becoming’ regarding one’s identity. The researcher argues that Radhika though a born female denies her socially given sexual identity of a woman, the second sex, to enjoy her life by becoming a fully-fledged human being. This article examines how she asserts a self constructed identity for herself as well as exerts independence and freedom that are taken as a male prerogative in patriarchal societies like ours. In doing so, the article imparts voice to the voiceless women who in the course of aspiring to be free and self-sufficient but are undergoing a tougher struggle in their lives at contemporary times. It also discusses how the stereotypically demeaning treatment by male chauvinists can be overcome by the females who want to pioneer their own unfettered being and live a life of their own choice.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38721
Mohan Kumar Tumbahang
The paper aims to analyze the Limbu cultural specific song Pa:la:m from the perspective of the politeness principle. It attempts to reply the questions such as how the singing duet follows the communicative implicature and what the rationales or practical implications there are in life. The study design was based on the qualitative one which made the use of non-numerical data. The necessary data were elicited from the textual resources that were recorded in certain books of the Limbu culture. Moreover the data were discussed, analyzed and interpreted in relation to pragmatic theory, a part of linguistics. The analysis of the data showed that the Limbu cultural specific song Pa:la:m has readily followed the principle of politeness. As the Pa:la:m singers have learnt the polite form of speech, they can deal verbal behavior smoothly and successfully. It is expected that this study can help the individuals involving in the pragmatic study of the verbal behavior. In addition, the anthropologists can achieve certain insight into the Limbu ethic culture and the traditional song Pa:la:m.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38716
I. Mishra
Patriarchal gender roles provide certain privileges to males. They hold the position of house holder, which provides them access to power and resources, and authority over women and children in the family. Likewise, they get social recognition as the head of the family. But they get these privileges on the condition that they provide and protect their family members as breadwinners. One of the aspects of masculinity is to provide to the needs of the family. Thus, men take risks and accept challenges to earn money so that they can provide for their families. However, while performing the breadwinner role, they are likely to encounter different types of mental and physical threats that may cost them their lives. Govinda Raj Bhattarai's debut novel, Muglan deals with the problems faced by men in patriarchy. Though the protagonist and his companions have emulated the traditional masculinity and hoped to live like men, they fail. Thus, this article aims to analyze the representation of masculinity in the novel to examine the harms of patriarchal gender roles on men. For this, it takes insights from Masculinity Studies, which put forward to inessential approach to gender. This approach suggests that gender is not a natural phenomenon. Rather it is a socially constructed category, and rigid traditional gender roles harm both men and women. The article contributes to understanding the harms of rigid patriarchal gender roles on men.
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Pub Date : 2021-08-07DOI: 10.3126/jodem.v12i1.38710
Asmita Bista
This article focuses on gendered construction of masculinity in Jagdish Ghimire’s Lilaam. The main argument of this article is that masculinity is constructed entity; so, male characters of this novel constituted their masculinity through their performances. Moreover, the male characters of this novel confirm the socially accepted universal truths about being a woman or man; consequently, their exhibition of masculinity cause problems not only to them but also to the female characters. To support this argument, Connell’s and Kimmel’s idea of masculinity have been used as major theoretical parameters to analyze the text under scrutiny. They have claimed that conventional masculinity harms both women and men who are caught up in a systematic constructed limitation due to their prescribed gender roles. According to Connell, men are not born, they are made; in fact, men make themselves, actively constructing their masculinities within a social and historical context. Consequently, males undergo repression while exhibiting masculinity. The significance of this article is to analyze the condition of males residing in Manthali village that is situated on the bank of Tamakoshi river. The article concludes that the male characters of Lilaam cannot live happily and peacefully because snatching happiness and peace from their life, patriarchy buries them under the unbearable burden of masculinity.
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