In Custody is a novel by Anita Desai that studies the extinction of Urdu culture in post-partition India. The film adaptation of the novel has been done by Merchant Ivory Production in an attempt to not only convert the narrative from one art form to another, but also to use cinematic techniques to explore the socio-culture of India with the Urdu language being the central theme. This paper tries to explore the diminished Urdu culture and tries to analyze the question of its preservation in the modern world using technologies that have also been put forward in both art forms. The verses of Urdu poets and Faiz Ahmad Faiz used in the novel and in the film along with the progressive writers’ thought have also been dealt with. Hence, the theme of Urdu culture playing centrally, this paper studies various other aspects that have been presented in the film adaptation.
{"title":"In Whose Custody? – A Study of Culture in Crisis with Reference to the Novel and the Film","authors":"Astha Singh","doi":"10.17561/grove.29.7218","DOIUrl":"https://doi.org/10.17561/grove.29.7218","url":null,"abstract":"In Custody is a novel by Anita Desai that studies the extinction of Urdu culture in post-partition India. The film adaptation of the novel has been done by Merchant Ivory Production in an attempt to not only convert the narrative from one art form to another, but also to use cinematic techniques to explore the socio-culture of India with the Urdu language being the central theme. This paper tries to explore the diminished Urdu culture and tries to analyze the question of its preservation in the modern world using technologies that have also been put forward in both art forms. The verses of Urdu poets and Faiz Ahmad Faiz used in the novel and in the film along with the progressive writers’ thought have also been dealt with. Hence, the theme of Urdu culture playing centrally, this paper studies various other aspects that have been presented in the film adaptation.","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"24 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125760002","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}
Literary tourism has recently emerged as a lively field of research, especially in nineteenth-century studies. As a cultural phenomenon it has proved to be particularly popular in the British Isles, where its origins can be traced back to the eighteenth century. This essay analyses literary tourism in relation to one of England’s most renowned authors: Shakespeare. Garrick’s 1769 Jubilee is explored to explain how this well-orchestrated commemorative event paved the way for the earliest pilgrimages to Stratford-upon-Avon. Secondly, the Shakespeare family homes, especially the Birthplace, are analysed as historical national icons that have elicited ideas of Englishness. Finally, there is a discussion on authenticity in relation to the Birthplace and The Globe. Using theoretical terminology coined by Lacan and Baudrillard, the essay seeks to demonstrate the inability to fully experience authenticity, as it is impossible to access a reality—Shakespeare’s past—that has ceased to exist.
{"title":"Looking for William","authors":"Jennifer Ruiz-Morgan","doi":"10.17561/grove.29.6696","DOIUrl":"https://doi.org/10.17561/grove.29.6696","url":null,"abstract":"Literary tourism has recently emerged as a lively field of research, especially in nineteenth-century studies. As a cultural phenomenon it has proved to be particularly popular in the British Isles, where its origins can be traced back to the eighteenth century. This essay analyses literary tourism in relation to one of England’s most renowned authors: Shakespeare. Garrick’s 1769 Jubilee is explored to explain how this well-orchestrated commemorative event paved the way for the earliest pilgrimages to Stratford-upon-Avon. Secondly, the Shakespeare family homes, especially the Birthplace, are analysed as historical national icons that have elicited ideas of Englishness. Finally, there is a discussion on authenticity in relation to the Birthplace and The Globe. Using theoretical terminology coined by Lacan and Baudrillard, the essay seeks to demonstrate the inability to fully experience authenticity, as it is impossible to access a reality—Shakespeare’s past—that has ceased to exist.","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122323890","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}
While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.
{"title":"Guy Butler's Demea","authors":"Marta Villalba-Lázaro","doi":"10.17561/grove.v29.6658","DOIUrl":"https://doi.org/10.17561/grove.v29.6658","url":null,"abstract":"While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.\u0000 ","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131689349","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}
“Soy judía, coja, lesbiana”. Así se presentaba Jane Auer Bowles (NY 1917Málaga 1973). “Cabeza de Gardenia”, dicen que la llamaba Truman Capote. Escritora. Autora de pocas páginas, no más de 400, pero fundamentales y escasamente referidas en la literatura de mujeres. Casó con Paul Bowles en 1938 y desde entonces lo acompañó en muchos de sus viajes. Sobre todo vivió Tánger, ese Tánger-ciudad internacional y puerta de África, donde casi todo era posible. En 1957 Jane Bowles sufre un derrame cerebral. Fue quedándose ciega y perdiendo la capacidad de leer, de escribir, de discernir. Confusa y loca, peregrina de psiquiátricos, en el 68 ingresa en una clínica de reposo en Málaga. Sobrevive (o antemuere) entre electrochoques, monjas, palabras perdidas, visitas escasas. Entre sus dolores eternos está el haber escrito muy poco. Convertida al catolicismo, murió en Málaga en 1973. Allí quedó, bajo su cruz, que es hoy losa de mármol muy negro. Unos dicen que la mató el alcohol, otros que el veneno y la magia negra de Cherifa, su amante mora.
{"title":"Cabeza de gardenia","authors":"Aroa Orrequia-Barea, Carmen Camacho","doi":"10.17561/grove.29.7576","DOIUrl":"https://doi.org/10.17561/grove.29.7576","url":null,"abstract":"“Soy judía, coja, lesbiana”. Así se presentaba Jane Auer Bowles (NY 1917Málaga 1973). “Cabeza de Gardenia”, dicen que la llamaba Truman Capote. Escritora. Autora de pocas páginas, no más de 400, pero fundamentales y escasamente referidas en la literatura de mujeres. Casó con Paul Bowles en 1938 y desde entonces lo acompañó en muchos de sus viajes. Sobre todo vivió Tánger, ese Tánger-ciudad internacional y puerta de África, donde casi todo era posible. En 1957 Jane Bowles sufre un derrame cerebral. Fue quedándose ciega y perdiendo la capacidad de leer, de escribir, de discernir. Confusa y loca, peregrina de psiquiátricos, en el 68 ingresa en una clínica de reposo en Málaga. Sobrevive (o antemuere) entre electrochoques, monjas, palabras perdidas, visitas escasas. Entre sus dolores eternos está el haber escrito muy poco. Convertida al catolicismo, murió en Málaga en 1973. Allí quedó, bajo su cruz, que es hoy losa de mármol muy negro. Unos dicen que la mató el alcohol, otros que el veneno y la magia negra de Cherifa, su amante mora.","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"300 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123284942","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}
This article explores poet Mark Strand’s facet as an art critic and, more specifically, the way in which the pictorial universe of American painter Edward Hopper influenced his own poetry, both thematically and stylistically. Reading Hopper’s well-known oil on canvas House by the Railroad (1925) in a New York Times article entitled “Crossing the Tracks to Hopper’s World,” published on 17 October 1971, Strand dwells on “Hopper’s fascination with passage” (340). Years later, he would expand his critical exegesis of House by the Railroad and other canvasses by the American painter in a book-length essay titled Hopper (1994) in ways that are expressive of his own poetics. Both Strand and Hopper look at the world with an inquisitive gaze and capture moments in time with utter clarity to show that the self is a mystery and humans are transients yearning for a moment of revelation, a momentary stay against confusion.
{"title":"Lucky Form of Truth","authors":"Leonor María Martínez Serrano","doi":"10.17561/grove.v29.6657","DOIUrl":"https://doi.org/10.17561/grove.v29.6657","url":null,"abstract":"This article explores poet Mark Strand’s facet as an art critic and, more specifically, the way in which the pictorial universe of American painter Edward Hopper influenced his own poetry, both thematically and stylistically. Reading Hopper’s well-known oil on canvas House by the Railroad (1925) in a New York Times article entitled “Crossing the Tracks to Hopper’s World,” published on 17 October 1971, Strand dwells on “Hopper’s fascination with passage” (340). Years later, he would expand his critical exegesis of House by the Railroad and other canvasses by the American painter in a book-length essay titled Hopper (1994) in ways that are expressive of his own poetics. Both Strand and Hopper look at the world with an inquisitive gaze and capture moments in time with utter clarity to show that the self is a mystery and humans are transients yearning for a moment of revelation, a momentary stay against confusion.","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115361748","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}
Discourse-pragmatic markers—DPMs—have attracted much scholarly attention over the years since they play an important role in our daily lives. Most of them have been analysed by scholars. However, in this paper, I focus on one of these units, wait, a DPM which, with the exception of Tagliamonte (Wait, It’s a Discourse Marker) in the Canadian context, has been largely neglected. I follow a corpus-based approach, examining data from spoken British English extracted from the BNC2014. The study offers new light on the uses and functions of this DPM in the British English context and allows a comparison with the Canadian English data examined by Tagliamonte (Wait, It’s a Discourse Marker).
{"title":"Use of Wait as a Discourse-Pragmatic Marker in Spoken British English","authors":"Nazaret Camacho Salas","doi":"10.17561/grove.29.7268","DOIUrl":"https://doi.org/10.17561/grove.29.7268","url":null,"abstract":"Discourse-pragmatic markers—DPMs—have attracted much scholarly attention over the years since they play an important role in our daily lives. Most of them have been analysed by scholars. However, in this paper, I focus on one of these units, wait, a DPM which, with the exception of Tagliamonte (Wait, It’s a Discourse Marker) in the Canadian context, has been largely neglected. I follow a corpus-based approach, examining data from spoken British English extracted from the BNC2014. The study offers new light on the uses and functions of this DPM in the British English context and allows a comparison with the Canadian English data examined by Tagliamonte (Wait, It’s a Discourse Marker).","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121771632","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}
The present article examines the treatment of spatial corporeality in Doris Lessing’s novella “The Eye of God in Paradise” (1957) set in Germany in the aftermath of the Second World War. Even though Lessing’s works have been studied from different perspectives—as the abundant critical studies show—, spatial corporeality has not been analysed before. This paper argues that the characters’ bodies, insofar as physical spaces of flesh and blood that are lived and where power is exerted, represent the trauma encountered by countless anonymous people who suffered due to the horrors of the war and who have only been made visible by the author’s skilled pen. By highlighting the corporeal spatiality in its physical, psychological, and sociohistorical division, Lessing has brought to the fore the intense suffering of unknown people, to give them identity as well as visibility and transform them into a locus of contesting power relations.
{"title":"Bodies that Speak","authors":"Maria Eugenia Berio","doi":"10.17561/grove.29.7237","DOIUrl":"https://doi.org/10.17561/grove.29.7237","url":null,"abstract":"The present article examines the treatment of spatial corporeality in Doris Lessing’s novella “The Eye of God in Paradise” (1957) set in Germany in the aftermath of the Second World War. Even though Lessing’s works have been studied from different perspectives—as the abundant critical studies show—, spatial corporeality has not been analysed before. This paper argues that the characters’ bodies, insofar as physical spaces of flesh and blood that are lived and where power is exerted, represent the trauma encountered by countless anonymous people who suffered due to the horrors of the war and who have only been made visible by the author’s skilled pen. By highlighting the corporeal spatiality in its physical, psychological, and sociohistorical division, Lessing has brought to the fore the intense suffering of unknown people, to give them identity as well as visibility and transform them into a locus of contesting power relations.","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122557189","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}
{"title":"Christopher Rollanson, 'Read Books, Repeat Quotations': The Literary Bob Dylan. Two Riders/The Bridge, 2021","authors":"Nadia López-Peláez Akalay","doi":"10.17561/grove.v29.7565","DOIUrl":"https://doi.org/10.17561/grove.v29.7565","url":null,"abstract":" \u0000 ","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116162531","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}
Ramón Esquerra i Clivillés (1909-1938), a Spanish intellectual born and raised in Barcelona, published in 1937 Utopia (El Estado Perfecto), a translation of Utopia (1516) by Thomas More. The translator prepared a large prologue in which he minutely details the life and personality of the humanist and introduces Utopia and its reception in Spain. As a result, this illuminating introductory section becomes a brief piece of literary criticism. The way More is presented and how Esquerra emphasizes some of his most personal features creates a particular image of the humanist: that of a saint. The information shown was carefully chosen by the translator, serving from of More’s latest published biographies to construct a useful context for the reader.
Ramón埃斯奎拉·i·克利维利·萨梅斯(1909-1938)，西班牙知识分子，在巴塞罗那出生和长大，1937年出版《乌托邦》(El Estado Perfecto)，翻译自托马斯·莫尔的《乌托邦》(1516)。译者准备了一个很大的序言，他在序言中详细描述了这位人文主义者的生活和个性，并介绍了乌托邦及其在西班牙的接受情况。因此，这一启发性的引言部分变成了一篇简短的文学批评。莫尔的呈现方式，以及埃斯奎拉强调他最个人特征的方式，创造了一个人文主义者的特殊形象:一个圣人。所展示的信息是由译者精心挑选的，从莫尔最新出版的传记中挑选出来，为读者构建一个有用的背景。
{"title":"Thomas More’s Portrayal in a Twentieth-Century Translation of Utopia","authors":"María Inmaculada Ureña-Asensio","doi":"10.17561/grove.28.5794","DOIUrl":"https://doi.org/10.17561/grove.28.5794","url":null,"abstract":"Ramón Esquerra i Clivillés (1909-1938), a Spanish intellectual born and raised in Barcelona, published in 1937 Utopia (El Estado Perfecto), a translation of Utopia (1516) by Thomas More. The translator prepared a large prologue in which he minutely details the life and personality of the humanist and introduces Utopia and its reception in Spain. As a result, this illuminating introductory section becomes a brief piece of literary criticism. The way More is presented and how Esquerra emphasizes some of his most personal features creates a particular image of the humanist: that of a saint. The information shown was carefully chosen by the translator, serving from of More’s latest published biographies to construct a useful context for the reader. ","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116893449","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}
The point of departure for this article is the much-debated death of postmodernism, heralded by influential experts on the subject such as Linda Hutcheon or Ihab Hassan at the beginning of the new millennium. Although the academic community as a whole has not agreed with this fact, there was an intense debate during the first years of the twenty-first century that was evidence of a change of attitude towards this cultural phase. With this in mind, the aim of this study is to provide a theoretical framework for the change in order to understand its nature. Analysing the theories developed by Thomas S. Kuhn on paradigm shifts in the field of science and applying them to the context of critical theory at the beginning of the millennium serves to challenge the very idea of postmodernism as a paradigm in the terms developed in Kuhn’s The Structure of Scientific Revolutions.
{"title":"The Post-Postmodern Turn: Challenging the Application of Kuhn's Model","authors":"Jesús Bolaño Quintero","doi":"10.17561/grove.28.5588","DOIUrl":"https://doi.org/10.17561/grove.28.5588","url":null,"abstract":"The point of departure for this article is the much-debated death of postmodernism, heralded by influential experts on the subject such as Linda Hutcheon or Ihab Hassan at the beginning of the new millennium. Although the academic community as a whole has not agreed with this fact, there was an intense debate during the first years of the twenty-first century that was evidence of a change of attitude towards this cultural phase. With this in mind, the aim of this study is to provide a theoretical framework for the change in order to understand its nature. Analysing the theories developed by Thomas S. Kuhn on paradigm shifts in the field of science and applying them to the context of critical theory at the beginning of the millennium serves to challenge the very idea of postmodernism as a paradigm in the terms developed in Kuhn’s The Structure of Scientific Revolutions. ","PeriodicalId":280802,"journal":{"name":"The Grove - Working Papers on English Studies","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130911443","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}
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