Pub Date : 2023-07-16DOI: 10.22452/sare.vol60no1.6
Nilanjana Chakraborty
Sri Aurobindo’s ideas of nationalism are eclectic, deriving their tradition from Hindu spiritualism, the vision of perfection in man as an entity, and intense esoteric realisation in the mystical philosophy of supramental consciousness of the being, as expounded in the Vedas and the Upanishads. Sri Aurobindo’s writings on political philosophy are a continuum, ranging from the utopian socialist ideas in Bande Mataram, a newspaper he edited to present the ideas of social, political, and judicial boycott to counter the British, to the writings of post-1910, when his life took a spiritual turn after years of spiritual realisations and yogic sadhana, where he mixes the power of the proletariat with the power of Vedantic mysticism. Sri Aurobindo’s ‘political vedantism’ is an attempt to restructure the political and social life of a colonised nation so that an indigenous idea of a nation can be constructed in concurrence with the Vedantic concept of society as a manifestation of a collective supremacy in man. Sri Aurobindo accepts spiritual determinism as the central principle of a nation, but at the same time, it is not a static concept to him but a constant movement of progressive self-evolution towards a perfection of the collective consciousness, manifested through the entity called the ‘nation’. This paper proposes to look at the ideas of spiritual nationalism of Sri Aurobindo and establish a dialogue with a nationalism that is neither socialist nor rightist.
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Pub Date : 2023-07-16DOI: 10.22452/sare.vol60no1.4
Chithira James, Reju George Mathew
Culinary nationalism in India has given rise to a hegemony of vegetarianism, excluding numerous regional and ethnic cuisines in the process. A homogeneous culinary identity is attempted by othering specific communities like Christians and Muslims, lower caste Hindus, and tribal groups, disputing the legitimacy of their national belonging and, hence, their culinary traditions. The traditional gender roles of women in kitchen spaces, along with their higher vulnerability to food insecurity, make food a prominent motif in Dalit women’s writing. This paper analyses how Dalit culinary practices, as recounted in the life narratives of Urmila Pawar and Baby Kamble, contest and redefine culinary nationalism and subvert the notion of ritual pollution or purity. Pawar’s The Weave of My Life and Kamble’s The Prisons We Broke detail the everyday practices of Dalit women, particularly those concerning food, as resistance to ethno-religious nationalism. Using Michel de Certeau’s theorization of everyday life, the paper reads the everyday practices of Dalit women as tactics that resist the strategies of Hindu/cultural nationalism. By depicting a carnival of the silenced Dalit cuisines as counter-cuisines and documenting the recipes of the same, these literary works assert Dalit culinary identities and provide a site for contestation of right-wing culinary hegemony.
{"title":"Resisting Culinary Nationalism: Dalit Counter-Cuisines in the Life Narratives of Urmila Pawar and Baby Kamble","authors":"Chithira James, Reju George Mathew","doi":"10.22452/sare.vol60no1.4","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.4","url":null,"abstract":"Culinary nationalism in India has given rise to a hegemony of vegetarianism, excluding numerous regional and ethnic cuisines in the process. A homogeneous culinary identity is attempted by othering specific communities like Christians and Muslims, lower caste Hindus, and tribal groups, disputing the legitimacy of their national belonging and, hence, their culinary traditions. The traditional gender roles of women in kitchen spaces, along with their higher vulnerability to food insecurity, make food a prominent motif in Dalit women’s writing. This paper analyses how Dalit culinary practices, as recounted in the life narratives of Urmila Pawar and Baby Kamble, contest and redefine culinary nationalism and subvert the notion of ritual pollution or purity. Pawar’s The Weave of My Life and Kamble’s The Prisons We Broke detail the everyday practices of Dalit women, particularly those concerning food, as resistance to ethno-religious nationalism. Using Michel de Certeau’s theorization of everyday life, the paper reads the everyday practices of Dalit women as tactics that resist the strategies of Hindu/cultural nationalism. By depicting a carnival of the silenced Dalit cuisines as counter-cuisines and documenting the recipes of the same, these literary works assert Dalit culinary identities and provide a site for contestation of right-wing culinary hegemony.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41326539","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.10
Navin Sharma, P. Tripathi
This article examines the use of symbolic representations in The Seven Moons of Maali Almeida (2022) to narrate the history of Human Rights (HR) violations. The article argues that the genre of fiction has emerged as a cultural medium for promoting the discourse of HR, moving beyond legal, judicial, and political forums. Building upon the concept of Human Rights Literature (HRL) developed by Pramod K. Nayar, the article conducts a critical analysis of the novel. It analyses 1) the use of fictional narratives to depict HR violations, 2) the role of language and cultural discourse that contribute to the dehumanization and demonization of people and massacres, and 3) how the discursive description of HR violations due to riots, civil war, and massacres transforms into a popular language of fiction. The article emphasizes the significance of fiction as a valuable addition to ethical literature within the HR movement and as a tool for spreading awareness.
{"title":"Human Rights and Literature: A Study of The Seven Moons of Maali Almeida","authors":"Navin Sharma, P. Tripathi","doi":"10.22452/sare.vol60no1.10","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.10","url":null,"abstract":"This article examines the use of symbolic representations in The Seven Moons of Maali Almeida (2022) to narrate the history of Human Rights (HR) violations. The article argues that the genre of fiction has emerged as a cultural medium for promoting the discourse of HR, moving beyond legal, judicial, and political forums. Building upon the concept of Human Rights Literature (HRL) developed by Pramod K. Nayar, the article conducts a critical analysis of the novel. It analyses 1) the use of fictional narratives to depict HR violations, 2) the role of language and cultural discourse that contribute to the dehumanization and demonization of people and massacres, and 3) how the discursive description of HR violations due to riots, civil war, and massacres transforms into a popular language of fiction. The article emphasizes the significance of fiction as a valuable addition to ethical literature within the HR movement and as a tool for spreading awareness.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47269966","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.15
Malachi Edwin Vethamani
None
没有一个
{"title":"Wong Phui Nam (1935-2022)","authors":"Malachi Edwin Vethamani","doi":"10.22452/sare.vol60no1.15","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.15","url":null,"abstract":"<jats:p>None</jats:p>","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46296189","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.8
F. Akhter
Nationalism and religion have always been at the centre of political contestation in Southeast Asia. In fact, religion was the determinative factor in the 1947 Partition of the Indian subcontinent, where India was for the Hindus and East and West Pakistan for the Muslims. The emergence of a national identity based on religion let loose unanticipated violence and bloodshed, which led to massive migration as religious minorities—Muslims from India, and Hindus from both sides of Pakistan—crossed borders to be with co-religionists. However, the Urdu-speaking Muslims known as “Biharis,” who migrated to East Pakistan from India during and after the 1947 partition, faced a perilous situation in the wake of the Liberation War of Bangladesh. The rise of the Bengali nationalistic movement and the war resulted in the formation of a new nation-state, but it left the Biharis without a nation or national identity. This paper, highlighting the plight of the half-Bihari protagonist in Ruby Zaman’s Invisible Lines (2011), brings to the surface the ambivalent existence of the Biharis. Applying the theoretical framework of Benedict Anderson, Partha Chatterjee, and Ashis Nandy, the paper further demonstrates how the convoluted ties between religion, nationalism, and national identity problematize the inclusion of the Biharis, thereby displacing them forever, first from their homeland and then from Bangladesh. Even after they were granted citizenship in Bangladesh in 2008, the precarity of their national identity and belongingness still pervades as the country continues to eye them with suspicion and contempt for varied reasons.
{"title":"Forever Displaced: Religion, Nationalism and Problematized Belonging of Biharis in Ruby Zaman’s Invisible Lines","authors":"F. Akhter","doi":"10.22452/sare.vol60no1.8","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.8","url":null,"abstract":"Nationalism and religion have always been at the centre of political contestation in Southeast Asia. In fact, religion was the determinative factor in the 1947 Partition of the Indian subcontinent, where India was for the Hindus and East and West Pakistan for the Muslims. The emergence of a national identity based on religion let loose unanticipated violence and bloodshed, which led to massive migration as religious minorities—Muslims from India, and Hindus from both sides of Pakistan—crossed borders to be with co-religionists. However, the Urdu-speaking Muslims known as “Biharis,” who migrated to East Pakistan from India during and after the 1947 partition, faced a perilous situation in the wake of the Liberation War of Bangladesh. The rise of the Bengali nationalistic movement and the war resulted in the formation of a new nation-state, but it left the Biharis without a nation or national identity. This paper, highlighting the plight of the half-Bihari protagonist in Ruby Zaman’s Invisible Lines (2011), brings to the surface the ambivalent existence of the Biharis. Applying the theoretical framework of Benedict Anderson, Partha Chatterjee, and Ashis Nandy, the paper further demonstrates how the convoluted ties between religion, nationalism, and national identity problematize the inclusion of the Biharis, thereby displacing them forever, first from their homeland and then from Bangladesh. Even after they were granted citizenship in Bangladesh in 2008, the precarity of their national identity and belongingness still pervades as the country continues to eye them with suspicion and contempt for varied reasons.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45556204","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.11
Avijit Das, S. Rai
The portrayal of nationalism in the context of establishing reconciliation, justice, and peace in the conflicting zone of Afghanistan has been stereotypical in mainstream literature, often referring to radical religious beliefs as the source of violence and inherent instability in the region. Of late, critics have been resounding the problematics of conflicts in various dimensions, like economic, cultural, social, religious, and so on, to focus upon the probabilities of reconciliation, justice, and peace, which are the basics of a desirable human civilization. While nuclear weapons and postmodern dissatisfaction are leading the entire civilization onto the brink of complete annihilation, the worst crimes are being witnessed in many disputed territories, making these regions’ geopolitical standings prone to renewed discovery. The literature of recent times, dialoguing their discourses, opens up fascinating facades to explore. The present study intends to show how Nadeem Aslam’s The Wasted Vigil provides a critical understanding of the contested notion of Afghan nationalism in its multidimensional fledglings.
{"title":"Problematizing the Contested Notion of Nation in Afghanistan: A Reflection on the Afghan Conundrum in Nadeem Aslam’s The Wasted Vigil","authors":"Avijit Das, S. Rai","doi":"10.22452/sare.vol60no1.11","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.11","url":null,"abstract":"The portrayal of nationalism in the context of establishing reconciliation, justice, and peace in the conflicting zone of Afghanistan has been stereotypical in mainstream literature, often referring to radical religious beliefs as the source of violence and inherent instability in the region. Of late, critics have been resounding the problematics of conflicts in various dimensions, like economic, cultural, social, religious, and so on, to focus upon the probabilities of reconciliation, justice, and peace, which are the basics of a desirable human civilization. While nuclear weapons and postmodern dissatisfaction are leading the entire civilization onto the brink of complete annihilation, the worst crimes are being witnessed in many disputed territories, making these regions’ geopolitical standings prone to renewed discovery. The literature of recent times, dialoguing their discourses, opens up fascinating facades to explore. The present study intends to show how Nadeem Aslam’s The Wasted Vigil provides a critical understanding of the contested notion of Afghan nationalism in its multidimensional fledglings.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47919734","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.13
Akhtar Mirza
It is a poem originally written in Urdu by the Pakistani Poet Akhtar Raza Saleemi. The poem speaks of a scene that is set in a desolate valley, surrounded by mountains, where three men are conversing with each other, but someone is listening, and the awareness of it is causing them to freeze in the form of a statue. It is an allegorical poetic tale about censorship and the panopticon.
{"title":"A Story","authors":"Akhtar Mirza","doi":"10.22452/sare.vol60no1.13","DOIUrl":"https://doi.org/10.22452/sare.vol60no1.13","url":null,"abstract":"It is a poem originally written in Urdu by the Pakistani Poet Akhtar Raza Saleemi. The poem speaks of a scene that is set in a desolate valley, surrounded by mountains, where three men are conversing with each other, but someone is listening, and the awareness of it is causing them to freeze in the form of a statue. It is an allegorical poetic tale about censorship and the panopticon.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46518615","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 : 2023-07-16DOI: 10.22452/sare.vol60no1.12
Yasir Sarmad
The bazar is the stage of ethical contestation, and the place of laying claim to Truth; it becomes the Holy Altar of Sacrifice. It is the place of ultimate witnessing, of shahādat, or martyrdom which is essentially the witnessing of Truth in the form of submission of the self into the Self, a sublimation of the soul into the Soul, a finding of contingent being into Absolute Being, a journey from wujūd to Wujūd. But that submission, paradoxically, must also be witnessed so that it can be known, and thus found, that is, become maujūd (existent)—there must needs be a shahāda of the shahādat, a witnessing of the Witnessing, and that witnessing must take place in the bazar, the centre of the spectacle—the jalwa, the tajallī, the spectacular Divine Deployment through Self-manifestation. For without witnessing, there’s no knowing and without knowing, no realization of Divine Self-knowledge of Absolute Being. That is why all the lovers of the Beloved, the ‘āshiqīn of al-Ḥaq̣q̣ al-Jamāl, of Truth-Beauty, must dance in the bazar, the quintessential site of the manifestation of the Beloved as Truth-Beauty, and also as Love in, and through, the lovers’ ecstatic dance. The lovers must dance in the company of the Beloved, at the sight of Her Self-disclosure, Her Unveiling, that is, in the bazar, the central square before being slaughtered on the square. They must do so, so that their shahādat of Truth in love, their intense witnessing of Truth through sacrificing of their self in love, their martyrdom that is, can be witnessed and known by other lovers and by the Beloved as a spectacular manifestation of Truth, Beauty, and Being. That is what the iconic martyr of love, shahīd-e ‘ishq, Hussain b. Mansur al-Hallaj brought upon himself, and sacrificing his self into the Self out of love—self-sacrifice being an inherent quality and condition of ‘ishq love—turned the scene of his spectacular public qattāl, his intense assassination in the bazar, the central square, into a tajallī, into Divine Self-disclosure itself. That is, in this intensified witnessing through annihilation of the self into the Self, the shāhid became shahīd, the witness became the martyr, and the lover became the Beloved, raising the spectacle of this witnessing to the level of tajallī, of Divine Deployment itself. And ever since, this tajallī has become common vocabulary in the phenomenological, metaphysical, and aesthetic tradition of Islam. In the realm of Urdu alone it has become common parlance in the popular poeticizations by Faiz Ahmed Faiz, such as in his oft-sung poem āj bāzār meñ pā-ba-jaulāñ chalo. Thus, all martyrs of love, like this ultimate martyr of love, dance in the bazar—the city square, the qalb, the heart, the pivot of inqilāb, of revolution—in the Beloved’s City and beckon others to the same fate. And they dance intoxicated and without fear—in fact, without pain or suffering, which is naught but their dam-sāz, the companion of their breath, their witness, and intimate friend
集市是伦理争论的舞台，也是真理的归属地；它变成了神圣的祭坛。它是最终见证的地方，是沙哈达或殉道的地方，本质上是真理的见证，以自我服从自我的形式，灵魂升华到灵魂，偶然存在到绝对存在的发现，从武到武的旅程。但矛盾的是，这种服从也必须被见证，这样它才能被知道，从而被发现，也就是说，成为maujúd（存在的）——必须有一个沙哈达的沙哈达，一个见证者的见证，而见证必须发生在巴扎，奇观的中心——jalwa，tajallī，通过自我显现的壮观的神圣部署。因为没有见证，就没有知道和不知道，就没有对绝对存在的神圣自我认识的实现。这就是为什么所有的爱人的宠儿，'āshiqīn的-Ḥ真理之美的aq̣q̣; al-Jamāl必须在集市上跳舞，集市是宠儿作为真理之美表现出来的典型场所，也是爱人在狂喜的舞蹈中表现出来的爱。情人们必须在宠儿的陪伴下跳舞，一看到她的自我揭露，她的面纱，也就是说，在广场上被屠杀之前，在中央广场的集市上。他们必须这样做，这样他们在爱中对真理的崇拜，他们通过在爱中牺牲自己对真理的强烈见证，他们的殉难，也就是说，可以被其他爱人和被爱之人见证和知道，作为真理、美和存在的壮观显示。这就是标志性的爱的殉道者沙赫·伊什克（shahīd-e’ishq）侯赛因·b·曼苏尔·哈拉杰（Hussain b.Mansur al-Hallaj，进入神圣的自我揭示本身。也就是说，在这场通过自我毁灭进入自我的强化见证中，沙希德变成了沙希德，见证者变成了殉道者，爱人变成了宠儿，将这场见证的奇观提升到了神圣部署本身的塔贾利的水平。从那以后，这个tajallī已经成为伊斯兰教现象学、形而上学和美学传统中的常见词汇。仅在乌尔都语领域，它就已经成为Faiz Ahmed Faiz流行诗歌中的常见说法，比如他经常演唱的诗歌《āj bāzār meñpā-ba jaulāñchalo》。因此，所有的爱的殉道者，就像这位爱的终极殉道者一样，在宠儿的城市里的集市上跳舞——城市广场、qalb、心脏、inqilāb的支点，革命的支点——并向其他人发出同样的命运召唤。他们醉醺醺地跳舞，没有恐惧——事实上，没有痛苦或折磨，这只是他们的夫人，他们呼吸的伴侣，他们的见证人和亲密的朋友——他们在神圣迷魂药的喜悦中跳舞。在这种状态下，他们邀请更多的爱人，其他心灵受到真理折磨的人，来收拾他们内心的负担，然后再次被谋杀，牺牲自己，为真理而殉道。
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