The paper aims at exploring Victorian poet Christina Rossetti’s poem (1830-1894) “Goblin Market” (1862) through psychoanalytical and feminist perspectives. The poem which is an ostensible tale meant to be narrated to children, is actually on a deeper level, a thematically voluminous piece of literature from which a plethora of meanings emerge. What this poem demonstrates, holds true in the contemporary times. The objectives of this paper are to analyze 1) the poem with reference to studying gender as a construct, established by the patriarchal discourses, and also 2) the complexes that an individual might undergo owing to repression. The paper makes use of Luce Irigaray (b. 1930) and Helene Cixous’ (b. 1937) notions of feminism and Freud (1856-1939) and Lacan’s (1901-1981) theories of psychoanalysis. After explaining the relevant theory, the researchers aim to apply it to “Goblin Market” in order to compare and contrast the poem from the two said perspectives. Feminism helps in deconstructing the patriarchal overtones and power relationships whereas psychoanalysis enables the readers to understand the complexes and experiences that individuals undergo owing to their psychological make-up.
本文旨在从精神分析和女性主义的角度探讨维多利亚时期诗人克里斯蒂娜-罗塞蒂（1830-1894 年）的诗作《妖精市场》（1862 年）。这首诗表面上是一个为儿童讲述的故事，实际上在更深层次上是一部主题丰富的文学作品，其中蕴含着大量的意义。这首诗所展示的内容在当代依然适用。本文旨在分析：1）这首诗是如何将性别作为父权制话语所建立的一种建构来研究的；2）个人因压抑而可能产生的情结。本文借鉴了 Luce Irigaray（生于 1930 年）和 Helene Cixous（生于 1937 年）的女性主义观念以及弗洛伊德（1856-1939 年）和拉康（1901-1981 年）的精神分析理论。在解释了相关理论后，研究人员旨在将其应用于《妖精市场》，以便从上述两个角度对这首诗进行比较和对比。女性主义有助于解构父权色彩和权力关系，而精神分析则能让读者理解个人因心理构成而产生的复杂情绪和经历。
{"title":"Psychological Make-Up and Gender Construct in Christina Rossetti’s “Goblin Market”","authors":"Shivani Chaudhary, Raj Bansal","doi":"10.59136/lv.2024.2.1.3","DOIUrl":"https://doi.org/10.59136/lv.2024.2.1.3","url":null,"abstract":"The paper aims at exploring Victorian poet Christina Rossetti’s poem (1830-1894) “Goblin Market” (1862) through psychoanalytical and feminist perspectives. The poem which is an ostensible tale meant to be narrated to children, is actually on a deeper level, a thematically voluminous piece of literature from which a plethora of meanings emerge. What this poem demonstrates, holds true in the contemporary times. The objectives of this paper are to analyze 1) the poem with reference to studying gender as a construct, established by the patriarchal discourses, and also 2) the complexes that an individual might undergo owing to repression. The paper makes use of Luce Irigaray (b. 1930) and Helene Cixous’ (b. 1937) notions of feminism and Freud (1856-1939) and Lacan’s (1901-1981) theories of psychoanalysis. After explaining the relevant theory, the researchers aim to apply it to “Goblin Market” in order to compare and contrast the poem from the two said perspectives. Feminism helps in deconstructing the patriarchal overtones and power relationships whereas psychoanalysis enables the readers to understand the complexes and experiences that individuals undergo owing to their psychological make-up.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"16 21","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140441658","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 contemporary technological epoch is witnessing the growth of posthuman discourse in science fiction novels as they focus on studying the future existence of humans and nonhumans. However, these posthuman insights and studies are mostly confined to Western sci-fi novels. The present study argues that contemporary Indian English science fiction optimistically deals with posthumanist concepts and shows how a harmonious existence is possible. The idea is delineated through S.B Divya’s debut novel Machinehood (2021), and it becomes a productive site to analyse posthuman India's future. The Borromean knot of human- achinenature in the novel delineates how this harmonious existence is possible. The study employs close reading and interpretation by using the concepts of “critical posthumanism” by Rosi Braidotti and “philosophical posthumanism” by Francesca Ferrando. The paper attempts to show how Divya deals with themes like advanced capitalism, neo-religion and sustainable environment, moving away from the conventional notions of anthropocentrism and how she unravels the potentials of posthumanism through symbiotic living.
{"title":"Envisioning Posthuman India: An Analysis of S.B Divya’s Machinehood","authors":"Greeshma Johny","doi":"10.59136/lv.2024.2.1.10","DOIUrl":"https://doi.org/10.59136/lv.2024.2.1.10","url":null,"abstract":"The contemporary technological epoch is witnessing the growth of posthuman discourse in science fiction novels as they focus on studying the future existence of humans and nonhumans. However, these posthuman insights and studies are mostly confined to Western sci-fi novels. The present study argues that contemporary Indian English science fiction optimistically deals with posthumanist concepts and shows how a harmonious existence is possible. The idea is delineated through S.B Divya’s debut novel Machinehood (2021), and it becomes a productive site to analyse posthuman India's future. The Borromean knot of human- achinenature in the novel delineates how this harmonious existence is possible. The study employs close reading and interpretation by using the concepts of “critical posthumanism” by Rosi Braidotti and “philosophical posthumanism” by Francesca Ferrando. The paper attempts to show how Divya deals with themes like advanced capitalism, neo-religion and sustainable environment, moving away from the conventional notions of anthropocentrism and how she unravels the potentials of posthumanism through symbiotic living. ","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"26 20","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140441969","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}
Pavini Suri, Ph.D. Scholar, M. Rachna, Dr. Shivani Vashisht, Professor Hod English
“Men are more likely than women to be given medication when they report pain to their doctors. Women are more likely to be given sedatives,” claims Leslie Jamison while citing evidence from the 2001 study The Girl Who Cried Pain (Jamison 117). Pain as an experiential category is different from other somatic experiences, in that it is heavily dependent not only on its mitigation but also on its avowal of external perceptual forces. As Elaine Scarry puts it “To have great pain is to have certainty; to hear that another person has pain is to have doubt” (Scarry 7). This is true except in circumstances when one is inflicting pain on another – such as torture, where the other’s articulation of pain reinforces the effectiveness of pain being inflicted. A close look at the existing theoretical apparatus and literary representations of women’s physical pain reveals a big issue. Even when gender is acknowledged as a contributing factor in women’s pain, these conversations are often limited to representations of descriptions of sexual assault, childbirth and, fairly recently, menstruation. The experiences of female pain that aren’t solely mediated through the genitalia, lack both representation and a theoretical vocabulary to talk about them productively. My engagement with pain as a symptom of lupus shows that there are experiences of pain heavily dependent on gender identity, which have nothing to do with the genitalia. In establishing a theoretical apparatus for talking about such experiences it might be useful to draw on Flannery O’Connor’s letters as a test for the theoretical apparatus thus developed.
{"title":"Meditations on the Female Chronic Pain Experience in Literature: An Exploration of Lupus in Flannery O’Connor’s Letters","authors":"Pavini Suri, Ph.D. Scholar, M. Rachna, Dr. Shivani Vashisht, Professor Hod English","doi":"10.59136/lv.2024.2.2.3","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.3","url":null,"abstract":"“Men are more likely than women to be given medication when they report pain to their doctors. Women are more likely to be given sedatives,” claims Leslie Jamison while citing evidence from the 2001 study The Girl Who Cried Pain (Jamison 117). Pain as an experiential category is different from other somatic experiences, in that it is heavily dependent not only on its mitigation but also on its avowal of external perceptual forces. As Elaine Scarry puts it “To have great pain is to have certainty; to hear that another person has pain is to have doubt” (Scarry 7). This is true except in circumstances when one is inflicting pain on another – such as torture, where the other’s articulation of pain reinforces the effectiveness of pain being inflicted. \u0000A close look at the existing theoretical apparatus and literary representations of women’s physical pain reveals a big issue. Even when gender is acknowledged as a contributing factor in women’s pain, these conversations are often limited to representations of descriptions of sexual assault, childbirth and, fairly recently, menstruation. \u0000The experiences of female pain that aren’t solely mediated through the genitalia, lack both representation and a theoretical vocabulary to talk about them productively. My engagement with pain as a symptom of lupus shows that there are experiences of pain heavily dependent on gender identity, which have nothing to do with the genitalia. In establishing a theoretical apparatus for talking about such experiences it might be useful to draw on Flannery O’Connor’s letters as a test for the theoretical apparatus thus developed.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"74 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140460209","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}
Dr. Rachel Irdaya, D. Sudha, Dr. Rachel Irdaya Raj
Mankind is the only species to be gifted with the power of reasoning. Our quest to comprehend life has always been on the move. There was a time when we were completely governed by the laws of nature. However, through breakthroughs in science and technology, man has been able to evolve and exercise control. We now live in an era where our lives are governed by digital technology. Literature, cinema, and other art forms are the bases on which this is built. As movie lovers there have been times where we wished the movies had alternate endings. This stems from our own thoughts of living vicariously through the main characters. This is being facilitated by Interactive Digital Narrative in video games and movies. To understand and analyse this, the present paper takes Black Mirror: Bandersnatch to study the same. Black Mirror: Bandersnatch is an interactive movie that gives us several choices as we become the protagonist and attempt to change the fate of the protagonist in the story. Does digital technology help or harm our core values? Can art forms withstand the test of time, even in this digital era? This paper comprehends to find answers to the above questions.
{"title":"Ramifications of Digital Technology - A Critical Study of Black Mirror: Bandersnatch","authors":"Dr. Rachel Irdaya, D. Sudha, Dr. Rachel Irdaya Raj","doi":"10.59136/lv.2024.2.2.6","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.6","url":null,"abstract":"Mankind is the only species to be gifted with the power of reasoning. Our quest to comprehend life has always been on the move. There was a time when we were completely governed by the laws of nature. However, through breakthroughs in science and technology, man has been able to evolve and exercise control. We now live in an era where our lives are governed by digital technology. Literature, cinema, and other art forms are the bases on which this is built. As movie lovers there have been times where we wished the movies had alternate endings. This stems from our own thoughts of living vicariously through the main characters. This is being facilitated by Interactive Digital Narrative in video games and movies. To understand and analyse this, the present paper takes Black Mirror: Bandersnatch to study the same. Black Mirror: Bandersnatch is an interactive movie that gives us several choices as we become the protagonist and attempt to change the fate of the protagonist in the story. Does digital technology help or harm our core values? Can art forms withstand the test of time, even in this digital era? This paper comprehends to find answers to the above questions.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"31 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140459918","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}
Autonomous learning facilitated by technology is commonly touted as the pinnacle of independent learning. It is believed to offer learners a self-directed journey free from external influence. However, this perception confutes the intrinsic role of mediation when viewed specifically through Interruption, Introspection, and Inference (3Is). This paper argues that autonomous learning is never truly autonomous but rather a symbiotic interplay among 3Is, where 3Is play integral roles in guiding and transforming learners' experiences via an active dialogue. Through an exploration of selected literature, this paper elucidates how the presence of and interaction among these 3Is is indispensable for the efficacy of autonomous learning. Consequently, the notion of autonomous learning existing in isolation is debunked as a myth. The paper posits that the 3Is are the indispensable concomitants of self-directed learning. The paper will identify the myths surrounding independent learning and establish the purpose and role of 3Is. The paper will conclude with the necessity of offshoots of mediation -the 3Is for effective learning outcomes.
{"title":"Interruption, Introspection, and Inference: The Indispensable Concomitants of Autonomous Learning","authors":"Neha Sharma, Ph.D. Scholar","doi":"10.59136/lv.2024.2.2.15","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.15","url":null,"abstract":"Autonomous learning facilitated by technology is commonly touted as the pinnacle of independent learning. It is believed to offer learners a self-directed journey free from external influence. However, this perception confutes the intrinsic role of mediation when viewed specifically through Interruption, Introspection, and Inference (3Is). This paper argues that autonomous learning is never truly autonomous but rather a symbiotic interplay among 3Is, where 3Is play integral roles in guiding and transforming learners' experiences via an active dialogue. Through an exploration of selected literature, this paper elucidates how the presence of and interaction among these 3Is is indispensable for the efficacy of autonomous learning. Consequently, the notion of autonomous learning existing in isolation is debunked as a myth. The paper posits that the 3Is are the indispensable concomitants of self-directed learning. The paper will identify the myths surrounding independent learning and establish the purpose and role of 3Is. The paper will conclude with the necessity of offshoots of mediation -the 3Is for effective learning outcomes.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"37 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140460068","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}
Illness narratives inarguably resonate with the physical and psychological pain experienced by the patients as well as the caregivers because of the impact of illness and social alienation. The act of writing about the tribulations of being ill, as Lacan posits, protects the writer from its more devastating effects; though it is inadequate to eliminate psychosis. Shaheen Bhatt narrates the agonizing ordeal in I’ve Never Been (Un)happier through a metaphorical conceptualisation of the mental disorders she suffers from. When the telling of the lived experience occurs, the writer creates an alternate story in which she plays the dominant role of a protagonist, retrospects the episodes of mood disorders and fantasizes about death. This paper attempts to analyse the significance of the conceptual metaphors corresponding to the pervasive psychological distress and the role of writing in the recovery process.
由于疾病和社会疏离的影响，疾病叙事无可争议地引起了病人和护理人员身心痛苦的共鸣。 正如拉康所言，书写疾病的磨难可以保护作者免受其更具破坏性的影响，尽管这不足以消除精神病。 沙欣-巴特（Shaheen Bhatt）在《我从未（不）快乐过》（I've Never Been (Un)happier ）一书中，通过对她所患精神疾病的隐喻概念化，叙述了痛苦的折磨。在讲述亲身经历时，作者创造了一个另类故事，在这个故事中，她扮演着主角的角色，回顾情绪失调的发作，并幻想死亡。本文试图分析与普遍心理困扰相对应的概念隐喻的意义以及写作在康复过程中的作用。
{"title":"Writing for Healing: A Metaphorical Conceptualisation of Mental Disorders in Shaheen Bhatt’s I’ve Never Been (Un)happier","authors":"Shinu C., Dr. Binu Zachariah","doi":"10.59136/lv.2024.2.2.8","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.8","url":null,"abstract":"Illness narratives inarguably resonate with the physical and psychological pain experienced by the patients as well as the caregivers because of the impact of illness and social alienation. The act of writing about the tribulations of being ill, as Lacan posits, protects the writer from its more devastating effects; though it is inadequate to eliminate psychosis. Shaheen Bhatt narrates the agonizing ordeal in I’ve Never Been (Un)happier through a metaphorical conceptualisation of the mental disorders she suffers from. When the telling of the lived experience occurs, the writer creates an alternate story in which she plays the dominant role of a protagonist, retrospects the episodes of mood disorders and fantasizes about death. This paper attempts to analyse the significance of the conceptual metaphors corresponding to the pervasive psychological distress and the role of writing in the recovery process.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"41 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140460082","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}
A British novelist of Japanese origin, Kazuo Ishiguro explores the social and political atmosphere of England that unsettled the nation in the decade after World War I. He brings to notice the significant role of an individual’s inner emotional dilemma of the professional self. This paper then offers a close reading of Ishiguro’s The Remains of the Day (1989), exploring the discourse of the subject within a social, political and ideological framework that constructs the concept of selfhood. This play of socio-political ideologies includes subjects that are no more than cultural performances. Centring on Ishiguro’s exploration of this decentred subject, this paper scrutinises the symbolic link between the protagonist Stevens’s selfhood caused by self-deception or the ideological state apparatus and fictional world leaders’ discourse on professionalism. From this viewpoint, the main objective of the paper is to uncover how Ishiguro’s work dramatises the transformation of the modernist preconstituted subject into the postmodernist decentred subject.
作为日裔英国小说家，石黑一雄探讨了第一次世界大战后十年间英国动荡不安的社会和政治氛围。本文随后对石黑（Ishiguro）的《余生》（The Remains of the Day，1989 年）进行了细读，探讨了在社会、政治和意识形态框架内构建自我概念的主体话语。这种社会政治意识形态的游戏包括不过是文化表演的主体。本文以石黑对这一体面主体的探索为中心，仔细研究了主人公史蒂文斯因自我欺骗或意识形态国家机器而导致的自我身份与虚构的世界领导人关于专业性的话语之间的象征性联系。从这一角度出发，本文的主要目的是揭示石黑作品是如何将现代主义的预设主体转变为后现代主义的体面主体的。
{"title":"Locating the Subject in Postmodern State: A Critique of Kazuo Ishiguro’s The Remains of the Day","authors":"Suraj Soni, Research Scholar, Dr. Vipan Pal Singh","doi":"10.59136/lv.2024.2.2.2","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.2","url":null,"abstract":"A British novelist of Japanese origin, Kazuo Ishiguro explores the social and political atmosphere of England that unsettled the nation in the decade after World War I. He brings to notice the significant role of an individual’s inner emotional dilemma of the professional self. This paper then offers a close reading of Ishiguro’s The Remains of the Day (1989), exploring the discourse of the subject within a social, political and ideological framework that constructs the concept of selfhood. This play of socio-political ideologies includes subjects that are no more than cultural performances. Centring on Ishiguro’s exploration of this decentred subject, this paper scrutinises the symbolic link between the protagonist Stevens’s selfhood caused by self-deception or the ideological state apparatus and fictional world leaders’ discourse on professionalism. From this viewpoint, the main objective of the paper is to uncover how Ishiguro’s work dramatises the transformation of the modernist preconstituted subject into the postmodernist decentred subject.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"89 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140460179","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}
Intertextuality, which emphasizes the interaction of various works of art, is associated with adaptation studies. According to comparative literature scholar James Naremore, modern life's nerve center is remaking. Additionally, based on the interpretation of the original source material, remaking brings out ideological and aesthetic beliefs. According to the intertextuality school of thought, the novel always comes before the movie, but a consumer is more likely to see the movie first. However, the novel and the movie complement one another visually and aesthetically due to the components they contain. The study attempts to explore how Vishal Bharadwaj's adaptation of Ruskin Bond's novella The Blue Umbrella differs from the original and how they stay connected. The paper will try to find aspects of film and literature that are not easily changeable while considering the convergence of these two art forms.
{"title":"Moving from a Textual to Visual Medium: Transposition of Ruskin Bond’s The Blue Umbrella to the Cinematic Canvas","authors":"Vineet Pal","doi":"10.59136/lv.2024.2.2.14","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.14","url":null,"abstract":"Intertextuality, which emphasizes the interaction of various works of art, is associated with adaptation studies. According to comparative literature scholar James Naremore, modern life's nerve center is remaking. Additionally, based on the interpretation of the original source material, remaking brings out ideological and aesthetic beliefs. According to the intertextuality school of thought, the novel always comes before the movie, but a consumer is more likely to see the movie first. However, the novel and the movie complement one another visually and aesthetically due to the components they contain. The study attempts to explore how Vishal Bharadwaj's adaptation of Ruskin Bond's novella The Blue Umbrella differs from the original and how they stay connected. The paper will try to find aspects of film and literature that are not easily changeable while considering the convergence of these two art forms.","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"54 6","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140459823","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}
J. M. Coetzee, a South African-born writer, is renowned for his sparse yet potent prose. His writing often delves into complex themes such as apartheid, colonialism, and the human condition with a stark, introspective style. Through his precise and evocative prose, he explores the depths of human experience, inviting readers to confront uncomfortable truths about society and the self, and he even writes about the fundamental themes of literature. He examines the development of Johann Sebastian Bach's reputation as a classic from a critical standpoint in his famous essay "What is a Classic," drawing parallels with contemporary writing. Coetzee's research provokes reflection on the procedures and complexities of declaring a piece of writing a classic. Discussions about the creation of canons, cultural identity, and historical conditioning continue to influence opinions on classic literature in the contemporary literary landscape. Coetzee's admittance that our historical background influences how we play and interpret Bach's music provides a critical perspective on the subjectivity that permeates classical composition interpretation. Coetzee's research provokes reflection on the procedures and complexities of declaring a piece of writing a classic. Discussions about the creation of canons, cultural identity, and historical conditioning continue to influence opinions on classic literature in the contemporary literary landscape. Through a close reading of the selected essay from the book, the paper will analyse Coetzee's reflections on the nature of the classic, his critique of canonical thinking, and his exploration of the tensions between tradition and innovation in literary discourse.
J.J. M. Coetzee 是一位出生于南非的作家，以其稀疏而有力的散文而闻名。他的作品常常以一种鲜明、内省的风格深入探讨种族隔离、殖民主义和人类生存条件等复杂的主题。他的散文准确而传神，探索人类经验的深处，让读者直面关于社会和自我的令人不安的真相，他甚至还书写文学的基本主题。他在著名的《什么是经典》一文中，从批评的角度研究了约翰-塞巴斯蒂安-巴赫的经典声誉的发展，并将其与当代写作相提并论。科兹的研究引发了人们对宣布一部作品为经典的程序和复杂性的思考。关于经典创作、文化身份和历史条件的讨论继续影响着当代文学领域对经典文学的看法。科兹承认，我们的历史背景影响着我们如何演奏和诠释巴赫的音乐，这为我们提供了一个批判性的视角，来审视古典音乐作品诠释中渗透的主观性。科兹的研究引发了人们对宣布一部作品为经典的程序和复杂性的思考。关于经典创作、文化身份和历史条件的讨论继续影响着当代文学领域对经典文学的看法。本文将通过细读书中所选文章，分析科兹对经典本质的反思、他对经典思维的批判以及他对文学话语中传统与创新之间紧张关系的探索。
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Despite an array of new statutes designed to safeguard women and punish abusers, Intimate Partner Violence (IPV) continues to snuff out many lives leading to infringement of fundamental human rights and serious physical and mental health consequences. Like other societal phenomena, gender-based violence particularly IPV alongside its resistance, is prominently depicted in contemporary Indian cinema. By evaluating three films in light of a social responsibility paradigm which relies on realistic representation as its basic dimension, this research investigates how accurately IPV is portrayed across contemporary Indian cinema. The behavioural elements of the widely recognized The Duluth Model and Power and Control Wheel will be applied to determine realistic representation of IPV in each particular movie. This study focuses on films like Jasmeet K. Reen’s Darlings, Charukesh Sekar’s Ammu and Vipin Das’s ‘Jaya Jaya Jaya Jaya Hey’ which premiered in year 2022 in Hindi, Telugu and Malyalam cinema respectively. The results demonstrate significant variations in the measure of social responsibility indicating that contemporary Indian cinema may play a significant role in realistic projection of IPV
{"title":"Intimate Partner Violence and its Realistic Projection: A Critical Study of Contemporary Indian Cinema","authors":"Meenu Sharma","doi":"10.59136/lv.2024.2.2.13","DOIUrl":"https://doi.org/10.59136/lv.2024.2.2.13","url":null,"abstract":"Despite an array of new statutes designed to safeguard women and punish abusers, Intimate Partner Violence (IPV) continues to snuff out many lives leading to infringement of fundamental human rights and serious physical and mental health consequences. Like other societal phenomena, gender-based violence particularly IPV alongside its resistance, is prominently depicted in contemporary Indian cinema. By evaluating three films in light of a social responsibility paradigm which relies on realistic representation as its basic dimension, this research investigates how accurately IPV is portrayed across contemporary Indian cinema. The behavioural elements of the widely recognized The Duluth Model and Power and Control Wheel will be applied to determine realistic representation of IPV in each particular movie. This study focuses on films like Jasmeet K. Reen’s Darlings, Charukesh Sekar’s Ammu and Vipin Das’s ‘Jaya Jaya Jaya Jaya Hey’ which premiered in year 2022 in Hindi, Telugu and Malyalam cinema respectively. The results demonstrate significant variations in the measure of social responsibility indicating that contemporary Indian cinema may play a significant role in realistic projection of IPV","PeriodicalId":40984,"journal":{"name":"Literary Voice","volume":"47 20","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140460193","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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