tag:blogger.com,1999:blog-45317652742199553732024-03-13T21:50:07.167+05:30The Cosmic JokeAn amphibian writer, translator, poltergeist,researcher... my doppelganger pretends to be a Professor of English, The Maharaja Sayajirao University of Baroda, Vadodara.Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.comBlogger134125tag:blogger.com,1999:blog-4531765274219955373.post-59485574120073683442018-07-10T20:57:00.002+05:302021-03-22T16:27:08.877+05:30Possible Areas for Doctoral Research in English Studies<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-IN">After the recent
announcement by the HRD that a PhD will be made mandatory after the
year 2021 as minimum eligibility for applying for the post of assistant
professor, the number of interested students inquiring with me about possible
areas and topics for doing PhD has gone up. I have been regularly blogging
about doing research in English studies, the questions of methodology and coming
up with a research proposal and many people have found it useful. Please also check
out my following blogs: </span><br />
<span lang="EN-IN"><br /></span>
<span lang="EN-IN">i) <a href="https://sachinketkar.blogspot.com/2012/04/beginners-guide-to-doing-phd-in-english.html" target="_blank">A Beginners Guide to Doing PhD in English Literature</a></span><br />
<span lang="EN-IN">ii) <a href="https://sachinketkar.blogspot.com/2015/06/choosing-topic-for-research-project-in.html" target="_blank">Choosing a Topic for the Research Project in English Literature</a></span><br />
<span lang="EN-IN">iii) <a href="http://sachinketkar.blogspot.com/2014/08/writing-research-proposal-for-english.html" target="_blank">Writing a Research Proposal in English studies</a></span><br />
<span lang="EN-IN">iv) <a href="https://sachinketkar.blogspot.com/2016/09/some-possible-areas-of-research-on.html" target="_blank">Possible Areas of Research on Translation Studies</a></span><br />
<span lang="EN-IN">v) <a href="http://sachinketkar.blogspot.com/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">On Theorizing Indian Literatures and Cultures</a></span><br />
<span lang="EN-IN">vi) <a href="http://ketkar.blogspot.com/2012/12/warps-and-wefts-of-literary-traditions.html" target="_blank">Application of Dionyz Durisin's notion of interliterariness to Indian literatures</a></span><br />
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<span lang="EN-IN">English studies in
India, after the late nineteen eighties, has undergone a paradigm shift by moving
away from centrality of the Anglophone literatures (‘English’ literature, ‘American’
Literature and ‘Indian Writing in English’) to a more comparative Indian
literatures framework. It moved away from the study of ‘English literature’ to
‘literatures in English’. This shift was propelled by multiple factors like the
rise of postcolonial studies, ‘ the crisis in English studies’ debates in India,
growth in Indian literatures in English translation, <span style="mso-spacerun: yes;"> </span>development of translation studies and the
Dalit studies,<span style="mso-spacerun: yes;"> </span>as well as substantial
incorporation of non-Anglophone critical theory (largely continental) and
cultural studies into the English studies curriculum. <span style="mso-spacerun: yes;"> </span>It is the same cultural need to contextualize
English studies in India and make it relevant to the Indian studies that has
given rise to growing emphasis on ‘English Language Teaching’.</span></div>
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<span lang="EN-IN"><span style="mso-spacerun: yes;"> </span>I have been working within this reoriented
discipline from the past two decades, and hence my suggestions for the topics
and areas for an M. Phil or PhD research comes from comparative Indian
literatures framework. These topics and areas also reflect my own understanding
of ‘the knowledge gaps’ in research in English studies today, as well as my own
personal research interests. Hence, obviously these are not the only areas. I
will be blogging more on other areas as well in future.</span></div>
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<span lang="EN-IN"><span style="mso-spacerun: yes;"> </span>A distinction between ‘an area’ and ‘a topic’
needs to be kept in mind. I have offered broad outline of an area, obviously
one needs to relate it to specific authors/texts/ languages/ periods to delimit
the project. This specific delimitation would be ‘the topic’. I have given
examples from my own research and one can come up with any number of parallel ‘topics’
for their own research projects.</span><br />
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<span lang="EN-IN">1)
Hypertextuality and the questions of Digital Archiving of Indian literatures
(Bhakti, 19<sup>th</sup> century etc), the post-print condition</span><br />
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<span lang="EN-IN">While digital
humanities has made substantial inroads into the western humanities academia,
it is yet to make its place in India. However, after the explosion of the
internet and massive proliferation of post-print digital data (‘big data’), the
nature of knowledge, its production , circulation has undergone a profound
change, and it is often compared to the print technology revolution in the early middle period of the previous millennium. Digital humanities as a discipline engages with
methodological, epistemological and ontological issues of literary research in the context of this post-print digital universe of discourse. In the west,
digital humanities<span style="mso-spacerun: yes;"> </span>has often been
thought of in terms of ‘ waves’ where the first wave focussed on large-scale
digitization projects and the establishment of technological infrastructure
facilitating the shift from ‘ print’ to ‘ digital’ space, the later
developments and waves moved towards creating tools for dealing with ‘ born digital
texts. Digital humanities in India is still in its nascent stage and will
require transferring of massive pre-print, and print era documents into the
digital space , hence dealing with the basic issues of OCR, funding and lack of
interdisciplinary expertise. One can look up books like <i style="mso-bidi-font-style: normal;">Digital_Humanities</i>. eds. Anne Burdick, Johanna Drucker, et al. MIT,
2012 and <i style="mso-bidi-font-style: normal;">Understanding Digital Humanities</i>
, ed. David Berry , 2012 for more information about digital humanities.</span></div>
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<span lang="EN-IN">2)
Globalization and Literary languages in India </span></div>
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<span lang="EN-IN">The processes of
globalization unleashed during the nineteen nineties have profoundly altered
the cultural landscape of India. How literatures in Indian languages engages
with the disturbing questions of virtual reality, new corporate capitalism,
hybridization of languages, ‘post-truth’ and politics of media manipulation,
rise of social media and the questions of digital identity, privacy, freedom of
expression, pornography, and new forms of religious fanaticism is a critical
domain of research. One can study how literatures produced in Indian languages
(bhashas) in the nineteen nineties and the twenty first century comparatively. My own research on contemporary Marathi poetry deals
with such questions. How do literatures from other Indian languages engage with, and
embody these developments?</span></div>
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<span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;">Read my write up on 21st century Marathi literature by <a href="https://www.academia.edu/11673456/MARATHI_LITERATURE_IN_THE_TWENTY_FIRST_CENTURY_AN_OVERVIEW" target="_blank">clicking here</a></div><div class="MsoNormal" style="text-indent: 0.5in;"><br /></div><div class="MsoNormal" style="text-indent: 0.5in;"><br /></div>
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<span lang="EN-IN">3)<span style="mso-spacerun: yes;"> </span>Dalit literatures of the twenty first century</span></div>
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<span lang="EN-IN">Caste and gender-based
discrimination is deeply rooted in Indian society, and finds its expression in
literatures. Dalit literatures emerged during the nineteen sixties, primarily
in the form of autobiographies and poetry, and are receiving significant
attention in the English studies academia. However, most of the texts that are
being studied deal with the lives of Dalit writers during the sixties and the
eighties. There is a need to focus on the writers who grew up in the nineties
and the twenty first centuries (like Meena Kandasamy and S.Chandramohan in English and Des Raj Kali in Punjabi) in order to understand the nature of their
protest and their negotiation of caste-gender discrimination. We need to ask
the questions regarding the role of class, corporate capitalism and technology
in this negotiation. We need to compare their writings with the Dalit writers of the earlier generations.</span></div>
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<span lang="EN-IN">4)
<span style="mso-spacerun: yes;"> </span>World Literature and Modernisms in
Indian languages</span></div>
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<span lang="EN-IN">Though the concept
of ‘world literature’ is fairly old, going back to Goethe at least, it was
during the nineteen nineties, after globalization, that the concept started
being critically rethought by scholars such as Pascale Casanova, Franco Moretti
and David Damrosch. These scholars went beyond the traditional notion of world
literature as body of texts or a canon <i style="mso-bidi-font-style: normal;">to
underscore the transnational, trans-regional contexts of literary production,
consumption and circulation</i>. David Damrosch edited <i style="mso-bidi-font-style: normal;">World Literature in Theory (</i>2014) is the key anthology that would serve
as an introduction to various deliberations around World Literature.</span><br />
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<span lang="EN-IN">Indian students
may draw upon these critical re-conceptualizations, and look at the phenomenon like
modernisms (as distinct from modern or modernity) in Indian literatures other
than English. For instance, one can look at the writings of the immensely
influential writers-scholars such as Suresh Joshi, Dilip Chitre, Agyeya,
Krishna Baldev Vaid, Vilas Sarang (Read my paper on Vilas Sarang by <a href="https://www.academia.edu/25701000/SYNAPTIC_NARRATIVES_AND_HALF_BODIED_WOMEN_POETICS_AND_PRACTICE_OF_VILAS_SARANG_S_AVANT_GARDE_WRITING" target="_blank">clicking here</a>) , G.A. Kulkarni , Namdeo Dhasal ( Read my paper on Namdeo Dhasal b<a href="https://www.academia.edu/27036623/In_the_Organized_Harem_of_the_Octopus_Poetics_and_Politics_of_Namdeo_Dhasal" target="_blank">y clicking here</a>) and Nirmal Verma ( many of their creative
writings are available in English translation)<span style="mso-spacerun: yes;">
</span>using the notion of world literature. It will help us to go beyond the
stereotypical readings of these works in terms of ‘influences’ or
‘derivativeness’ and ‘inauthenticity’ that is associated with conventional
understanding of modernism in India. One can even approach important literary <i>movements</i> of experimentation such
as the Theatre of Absurd in various Indian languages using this theoretical
approach. </span><br />
<span lang="EN-IN"><br /></span>
<span lang="EN-IN">More specifically, this approach is also helpful in looking at
specific seminal authors like Anton Chekhov, <span style="mso-spacerun: yes;"> </span>T.S. Eliot, Charles Baudelaire, Samuel
Beckett, Bertolt Brecht, Rabindranath Tagore as world literature and their
reception in various Indian languages.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN">Read my paper on Gujarati modernism by <a href="https://www.academia.edu/23275937/Between_Swakiya_and_Parkiya_Modeling_Literary_Modernisms_in_Gujarati_Poetry" target="_blank">clicking here</a> </span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN">My paper on Marathi modernism by <a href="https://www.academia.edu/34851678/Laughing_Skeletons_and_Aging_Metaphors_Theorizing_the_Modernist_Avant_Garde_in_Marathi" target="_blank">clicking here </a></span></div>
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<span lang="EN-IN">5) Reception and
the Impact of Poststructuralist, Postmodern Critical Theories on literary
criticism in Indian languages (including performative gender studies)</span></div>
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<span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">Though English
studies have incorporated the continental theories like poststructuralism,
postmodernism, cultural studies in its methodology, how have non-English
literary studies ‘received’ these theories need to be examined in their
cultural and historical contexts.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>For instance, critics like Suresh Joshi, Suman
Shah, Babu Suthar, Chandrakant Topiwala in Gujarati, Milind Malshe, Gangadhar Patil,
Vilas Sarang , M.S. Patil and Harishchandra Thorat in Marathi draw upon these theories<span style="mso-spacerun: yes;"> </span>extensively. What is their impact on the
bhasha criticism? What does this reception tell us about the historical context
and cultural politics underlying literary criticism in the bhashas?</span><br />
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<span lang="EN-IN">6) Interliterary
processes in the post-Independence Indian literatures</span><br />
<span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">Like the notion of
‘world literature’, the notion of ‘interliterariness’ developed by Dionyz
Durisin is extremely useful to understand formation of multiple Indian
literatures, as it helps us to overcome the notions of ‘ influences’ that
perpetuates the influencer-influenced hierarchies and also helps us to understand literatures as
processes rather than products. I am grateful to noted Marathi critic late Prof
Kimbahune for drawing my attention to this theoretical framework and its use in
multilingual Indian context. Dionyz Durisin’s <i>Theory of Literary
Comparativistics</i> (1984) is a useful book. One can also look up Amiya Dev and
Sisir Kumar Das edited anthology on <i>Comparative Indian Literature</i> for its
application in some places. Marian Gallik’s essays on interliterariness and
Durisin are helpful.</span><br />
<span lang="EN-IN"><a href="http://ketkar.blogspot.com/2012/12/warps-and-wefts-of-literary-traditions.html" target="_blank">Check out my own essay on application of the notion of interliterariness to Indian literatures by clicking here</a>.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN">Watch my lecture on translation studies and world literature </span></div><div class="MsoNormal" style="text-indent: 0.5in;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UaCv7zKhkiE" width="320" youtube-src-id="UaCv7zKhkiE"></iframe></div><br /><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">7) Rethinking
Bhakti literatures and English studies (beyond colonial paradigms of reading
bhakti)</span><br />
<span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">Most of the reading precolonial Indian religious literature tend to see it as ‘pan-
Indian’ ‘bhakti movement’ and read ‘universal mysticism’ and ‘democratization’
into it. This anachronistic reading of ‘bhakti’ itself was a result of the
nineteenth century colonialism and colonial nationalist modernity that
projected such modern or quasi-Christian notions derived from the Reformation
onto this body of literature. </span><br />
<span lang="EN-IN">My own research on Narsinh Mehta is deeply
coloured by this conventional reading of bhakti. However, when I rethink bhakti
critically today, I find it more of a sectarian (or rather panthiya or
sampradayik) propaganda rather than being a product of any universal mystical community . It will be a good idea to see
how these 'bhakti movements’ in various Indian languages are constructed during
the colonial period, especially in English. For instance, R.D. Ranade’s book <i style="mso-bidi-font-style: normal;">Mysticism in Maharashtra</i> is an
influential book of this kind. There is a need to ‘de-romanticize’ bhakti and
rethink the relation between ‘tradition’ and ‘modernity’ in Indian contexts.
One also needs to take a second look at the dialogic/conflictual relation
between ‘bhakti’ traditions and ‘ Indian Islamic traditions’.</span></div>
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<span lang="EN-IN">8) Literary
Historiography, Pedagogy and the History of literary canonization in Indian
languages </span><br />
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<span lang="EN-IN">Literary
historiography in Indian languages began with pedagogical concerns during the
late nineteenth century. How did such projects influence creation of literary
canons in those languages? How does looking at historical contexts of
historiographical writings reflect the changing poetics and politics of
literary cultures? For instance, how do historiographical writings during the
nineteen seventies and the eighties differ from the colonial projects? How does
the historiographical writings of the nineteen nineties differ from those in
the seventies or at the turn of the century? What does this difference tell
us about literary culture of its times? How are pedagogical and canonizing
concerns articulated in literary historiographies?</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN">Watch my lecture on Literary Historiography in Indian vernaculars, Marathi Bhakti and World literature</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vBmPbEy_ICQ" width="320" youtube-src-id="vBmPbEy_ICQ"></iframe></div><br /><span lang="EN-IN"><br /></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">9) Anxiety of
Influence and the Politics of Canonization in Modern Indian Literatures</span></div>
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<span lang="EN-IN">Anxiety of Influence
is a powerful theory developed by the American critic Harold Bloom that seeks
to de-romanticize relationship between creative writers, and hence a very
insightful ( non-Eliotian) take on the question of tradition and modernism. How does this
quasi-Oedipal conflict between the authors and predecessors play out in
literary arenas in India? My own writings of contemporary Marathi poetry highlight
this love-hate tension between the influential modernist poets like Arun
Kolatkar, Namdeo Dhasal, Dilip Chitre and Vasant Dahake ,and the new generation
poets who emerged during the nineteen nineties like Manya Joshi, Hemant Divate,
Mangesh N. Kale, Sanjeev Khandekar and Sachin Ketkar. How does this conflict
play out in other Indian literatures?</span></div>
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<span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">10) Little
Magazine movements and the Literary Avant-gardes in Indian literatures</span></div>
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<span lang="EN-IN"><br /></span></div>
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<span lang="EN-IN">As demonstrated by
Benedict Anderson, print capitalism facilitated the imagination of ‘imagined
community’ called nation in the context of colonial modernity. The little
magazine movements in Indian languages were ‘non-periodical’ very often
ephemeral ventures that were non-capitalistic in their orientation and outcomes
of deep discontent with the cultural conservatism of the mainstream
periodicals. The dissenting, non-conservative, sexually explicit and radical
experimentation with cultural forms (including the visual) was articulated on such
fringe, ephemeral platforms during the nineteen fifties and the sixties. In
fact, important Dalit writing in Indian languages had to find space in the
little magazines. <span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span lang="EN-IN"><span style="mso-tab-count: 1;"><br /></span></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><span style="mso-tab-count: 1;">( Read my paper on i) <a href="https://www.academia.edu/34851678/Laughing_Skeletons_and_Aging_Metaphors_Theorizing_the_Modernist_Avant_Garde_in_Marathi" target="_blank">Marathi literary Avant-garde</a> )</span></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-IN"><span style="mso-tab-count: 1;"><br /></span></span></div>
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<span lang="EN-IN">Great amount of
such avant-garde modernist writings later on became ‘mainstream’ and even ‘established’
over a period of time. Little magazines in Marathi included magazines of the
sixties and the seventies such as ‘a-ba-ka-da-ee’, ‘ aso’, vaacha’ and so on. My
own research work in Marathi is on and through the little magazines of the
nineteen nineties like Shabdavedh, Saushthav and Abhidhanantar ( Read my article on <a href="https://www.academia.edu/33809540/TWENTY_FIVE_YEARS_OF_THE_ABHIDHANANTAR_MOVEMENT_An_article_published_on_Kritya_in_July_2017" target="_blank">Abhidhanantar by clicking here</a>) that defined themselves
as continuing the avant-garde tendencies of their precursors as well as expressing
the need to reinvent the idiom of poetry and the need to deal with the altered
life and cultural landscape transformed by the forces of globalization. They also
expressed their discontent with the idiom of the modernist sixties by pointing
out what was once anti-establishment had already become established and clichéd.
How did the poetics and politics of the little magazines play out in other
Indian languages? How do they compare with the little magazine movements in
other parts of the world?</span><br />
<span lang="EN-IN"><br /></span>
<span lang="EN-IN">One can also examine ' post-print' (non) periodicals ( e.g. Hakara in Marathi) and blogs in other Indian languages and their cultural agendas when the digital promises to shape our imaginations as ' virtual-global communities'.</span></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com5tag:blogger.com,1999:blog-4531765274219955373.post-40311104831562261272017-10-07T22:07:00.002+05:302018-02-12T15:49:03.272+05:30Mockingbirds, Good Fences, Bad Neighbours, Refugee Mothers and Children: Or Teaching American Literature in the times of Donald Trump<div dir="ltr" style="text-align: left;" trbidi="on">
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Literature, as Ezra Pound famously
said, is news that <i>stays </i>news. Resonance
of quote comes freshly alive for me when I am teaching American texts like <i>To Kill a Mockingbird, “</i>Mending Wall”,<i> </i>and a poem by the Nigerian-born–settled-in-America
writer Chinua Achebe titled ‘Refugee Mother and Child’ as part of the core
introductory course for the Bachelor of Arts with English honours (at the first
year or ‘freshmen’) at my University in Baroda, Gujarat. </div>
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Teaching Harper Lee’s celebrated novel
(1960) about racism and growing up in the American south in the backdrop of the
recent racist violence of Charlottesville and the Las Vegas shooting made me recall Italo Calvino’s
definition of a classic as a book that has not finished saying what it has to
say. Though racial segregation may have
been legally dead in America after the Civil Rights Movement –the event that
forms the historical background of <i>To
Kill a Mockingbird</i>, the racial segregation of the American hearts and minds
seem far from deceased. It is precisely this failure of the law to ensure
justice that forms the central theme of this novel, the theme that is critical
even today, when the far right has drastically resurged in the western society,
fifty seven years after the novel was published</div>
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Chinua Achebe’s moving poem
‘Refugee Mother and Child’ made students discuss the burning issue of refugees
that has so deeply influenced the global politics today, whether it is ‘Brexit’
or Trump’s anti-immigration policies. Multiculturalism as a political ideology
of globalization seems to be on a decline and one of the things fueling this
decline is the Syrian refugee crisis and the underlying Islamophobia. Unsurprisingly, my
students brought up the issue of the Rohingya refugees too. Clearly, the poem
published in 1971 in America has not yet finished saying what it had to say 46 years ago. </div>
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The Robert Frost‘s classic “Mending
Wall”, published in 1914, too, has not finished saying what it has to say , especially
when the current President Donald Trump has come to power promising the Americans
to build a wall to wall out Mexican immigrants, 103 years after its publication. The speaker
in the poem mischievously wants his farmer neighbor to rethink his traditional
wisdom regarding ‘ Good fences make good neighbours’by drawing attention to
that there is ‘ something’ -probably something
supernatural ( an elf? ) or even natural ( winter) that doesn’t love the wall. I
don’t think I am as good natured as the farmer -speaker in the Frost poem to
ask the President-who is not particularly known for his interest in literature
unlike his coloured precursor- to even consider the fact that the ‘something’
that doesn’t love a wall is neither an elf nor winter, but <i>history</i>.</div>
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It is precisely this question of
history and its relation to culture and literature that drove home to me how <i>baseless</i> is the anxiety of globalization
as cultural homogenization (or Americanization). Many of my students, especially from the
metropolitan cosmopolitan (and yes upper-caste) background, are brought up
regularly consuming wide range of American cultural artifacts: from fashion to
popular novels like <i>Twilight</i>, from the Hollywood films to American TV series like “ the Game of
the Thrones”, from American junk food to American social media (
Facebook or Tinder). Or even American English.And yet they could hardly comprehend most of the content
on the first two pages of <i>To Kill a
Mockingbird. </i>Who are the Southerners? Who was Andrew Jackson and who were
the Creeks? What on earth is a ‘Methodist’ and what is a human chattel? They
could hardly catch the Lee’s sarcasm regarding how the white families in the
South could trace their lineages back to the Battle of Hastings, nor could they
get the joke about how Simon Finch, Scout’s forefather, was escaping persecution of the Methodist by “ more
liberal” Christians in England. How is Robert Frost’s New England different
from Harper Lee’s Alabama? </div>
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The displacement and annihilation
of the Native American population, the American Revolution, the Civil war,
racism , slavery, the Puritans and various Christian denominations, American
social and cultural geographies that the first two pages of <i>To Kill a Mockingbird</i> pack are things
that are part of shared collective memory of the Americans ended u p acting as a <i>boundary </i>that separates the American
cultural text from the non-American readers who regularly consume popular
American cultural artifacts. In short, artifacts are <i>not</i> cultures, and as the cultural theorist Yuri Lotman would point
out, culture is <i>non-hereditary memory of
a group </i>and it is always bounded (dividing ‘us’ from ‘them’). </div>
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The myth of globalization as
Americanization is unfounded- we may be consuming more and more American
artifacts, but the American cultural memory will never replace non-American
cultural memories. And I doubt whether globalization can <i>erase</i> the cultural memory of non-American cultures, because as
Lotman has pointed out, the cultural memory is not an archive or a library of
past events ,but a mechanism embedded in <i>the present and the contemporary</i> that
creates the image of the past and projects it backwards. </div>
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Reading and teaching literary texts from other
cultures, from Lotman’s perspective, would invariably involve <i>translation </i>and translation according to
his theory is the primary mechanism of generation of new meanings and
information. Reading such American texts in the non-American societies and
cultures would result in translation and generation of new information in those
cultures. Globalization accelerates the translation and generation of new meanings
in other cultures, leading to added dynamism of cultural change in those local
cultures. This dynamism will be chaotic and unpredictable, not a simple
Americanisation of the world. <br />
[Check out my older presentation on American Poetry with reference to the poetry of Dickinson, Frost and Whitman embedded below]<br />
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-37253575960478541772017-03-24T11:24:00.000+05:302018-02-12T15:52:35.940+05:30How to Read Literary Translation<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "calibri" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;">Most
of the discussions around translation in India, whether academic or otherwise,
seem to be struck in an obsolete paradigm. (<a href="http://sachinketkar.blogspot.in/2012/07/why-translation-studies.html" target="_blank">Check out my blog on why translation studies)</a></span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;"><br /></span></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;"> It approaches translation from the
perspective of practice- it sees translation as something to be DONE, and hence
all the repetitive talk about ‘problems of translation’, whether particular
translation is possible or not continues inanely. Not enough discussion about translation from
the perspective of theory and methodology is available in the Indian context,
i.e. the questions about how to READ/STUDY/RESEARCH translated texts. There are
notable exceptions of course. Here I want to discuss the basic questions of how
to </span><span style="line-height: 115%;">READ <span style="font-weight: normal;">translated texts for the
beginners who have just started researching translation studies. <a href="http://sachinketkar.blogspot.in/2016/09/some-possible-areas-of-research-on.html" target="_blank">(Check out my blog on some possible areas of research on literary translation)</a></span></span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal;"><br /></span></span></span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal; line-height: 115%;">One
obvious pitfall while studying translation is being judgmental (normative) , we
are obsessed with the questions like whether a particular translation is ‘good’,
‘bad’ or ‘readable’. Being judgmental closes the door of the inquiry into the great
significance of translations, however ‘bad’, as points of entry to the study a
particular cultural history. </span></span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal; line-height: 115%;"> As translation is <i>a
decision-making process</i> starting from the choice of the texts/ authors and
the direction of translation (e.g. from Gujarati to English or the other way
round) to the decisions involving choices of titles, cultural elements, idioms,
literary devices and so on, one way of reading translation is <i><u>to see how
the history of target language culture has influenced these decisions.</u> </i></span></span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal; line-height: 115%;"> A powerful theoretical tool in
translation studies is Andre Levefere’s idea of translation as a kind of
‘refraction’. Translation, according to Lefevere, can be considered as one of
the ‘ refractions’ or all forms of rewritings of texts from one language into
other , including cinematic, televisions or comic book adaptations of the <i>Mahabharata</i>
or The <i>Godfather</i> to critical commentaries, glosses, summaries of the
texts in other languages. Critical articles on Baudelaire by the Gujarati
critic Suresh Joshi or the Marathi writer Dilip Chitre ‘refract’ Baudelaire for
Gujarati and Marathi audience. Once you see translation as ‘refraction’ you
situate it within the larger cultural politics of the period and you can see
the role it plays and <i>the agenda behind it.</i></span></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal; line-height: 115%;"><i> </i> </span></span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;"> Translation, like all other ‘refractions’,
Lefevere notes are done under certain </span><span style="line-height: 115%;">constraints<span style="font-weight: normal;"> of translating culture (TL Culture) and </span>the
task of reading a translated text is to understand the strategies of
translating ( the decisions made by translators) in the context of these
constraints.<span style="font-weight: normal;"> According to Lefevere these constraints are
as follows: i) the constraint of
language i.e. the verbal structure and
texture of the translating language force the translators to make certain
choices, ii) the constraint of poetics
i.e. the dominant poetics of the translating culture <i>compel</i> the
translator to choose a particular mode of translation (e.g. AK Ramanujan’s
choice to translate the oral -performative genre of Bhakti poetry where the
word-music is an essential feature into the imagistic -ironic free verse
developed by Eliot or William Carlos Williams), iii) the constraint of
patronage – for instance the demand to conform to what your publishers want (
or the publisher’s version of what the reader/market wants) or even the state
or political patronage ( what the Polit Bureau wants) and so on. Refractions, Lefevere argues, are basically
manipulative and have an agenda of influencing the audience. Reading translations as refraction helps us to
uncover the rich cultural history of the period. Reading multiple translations
of the same literary text or author (e.g. Shakespeare, Sharatchandra or Tagore)
over a period of time reveals the cultural politics of the period in which
these translations were made and help us reconstruct the history of culture.</span></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><a href="https://1.bp.blogspot.com/-FGMhlcU8QrY/WNS0TuVph6I/AAAAAAAAIwk/amfyhPUICtk3DYKTaJDVP-zFRKPHCwDUgCLcB/s1600/index.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-FGMhlcU8QrY/WNS0TuVph6I/AAAAAAAAIwk/amfyhPUICtk3DYKTaJDVP-zFRKPHCwDUgCLcB/s1600/index.jpg" /></a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;"> Another significant question
while reading translated texts is to consider translation from </span><i><span style="line-height: 115%;">functional
point of view,</span></i><span style="font-weight: normal; line-height: 115%;"> i.e. asking the
questions like what is the role and the function of the translated text in the
development of literary tradition. What is the role of translation in inaugurating
or consolidating a literary movement (like modernism or Dalit literature)? What
role does translation play in establishing a particular poetics</span><span style="line-height: 115%;"> <span style="font-weight: normal;">or genre (e.g.
Romanticism, the Brechtian theatre, or the Theatre of the Absurd, or genre like
the sonnet, the ghazals, the short story or the novel. How does translation <i>influence</i>
not the author, but poetics and the form? As the term ‘influence’ is a
problematic one (creating a hierarchy between the influencer and the influenced),
more constructive way of looking at resemblances between literary traditions
and cultures is to see them as what Dionyz Durisin terms as ‘interliterary processes’. <a href="http://ketkar.blogspot.in/2012/12/warps-and-wefts-of-literary-traditions.html" target="_blank">(Click here to read my blog on application of Durisin's ideas to Indian literatures) </a></span></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><a href="https://4.bp.blogspot.com/-FDRGmihtpW4/WNS0NgQh4YI/AAAAAAAAIwg/Efr1K7alr9UrWXZda9tPZkGzFqOUh5Z8QCLcB/s1600/index1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://4.bp.blogspot.com/-FDRGmihtpW4/WNS0NgQh4YI/AAAAAAAAIwg/Efr1K7alr9UrWXZda9tPZkGzFqOUh5Z8QCLcB/s1600/index1.jpg" /></a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">
</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal; line-height: 115%;"> Durisin’s
view of literary and cultural phenomena as </span><span style="line-height: 115%;">processes<span style="font-weight: normal;"> avoids the tendencies to create hierarchies. When
we see that the product ‘Chai’ is produced by the process (mixing ingredients
like sugar, milk or tea leaves and boiling it) we no longer see chai as being ‘influenced’
by ‘milk’. Hence, if you see the films like <i>Dharmatma</i> or Sarkar as
involving the Hollywood ingredients, say the elements of <i>The Godfather</i>,
you no longer create a hierarchy between Hollywood and Bollywood. Hence
while exploring the function of translated texts in the translating culture, we
are interested in ways in which translation contributes to these ‘interliterary
processes’. </span></span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal;"><br /></span></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">(Also check out my blog on Theorizing Indian literatures using semiotics of culture as theoretical framework)</a></span><br />
<br />
Check out my Video Presentation on Contemporary Translation theory and Practice<br />
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-9286307757436165442017-01-22T03:04:00.001+05:302017-01-22T12:44:45.115+05:30On Theorizing Indian Literatures and Cultures<div dir="ltr" style="text-align: left;" trbidi="on">
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<![endif]--><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: "cambria" , "serif";"> <span style="font-size: large;"> </span></span><span style="font-size: large;">As a
researcher in Indian literar<span style="font-family: "cambria" , "serif";">ures, </span>languages and cultures, my interest in <b>Semiotics of
Culture</b> as a theoretical framework developed by the scholars of the Tartu- Moscow School of semiotics
especially Juri Lotman ( 1922-1993) stems from the fact that it:</span></span><br />
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-size: large;"><a href="https://1.bp.blogspot.com/-YPjWB886L1o/WIRZ1ykc12I/AAAAAAAAIns/_qBiHjjpvN84pjCP7_lkrn01FrBh9zKPwCLcB/s1600/29.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-YPjWB886L1o/WIRZ1ykc12I/AAAAAAAAIns/_qBiHjjpvN84pjCP7_lkrn01FrBh9zKPwCLcB/s320/29.jpg" width="206" /></a></span></span></div>
<br />
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">I) <span style="font-family: "cambria" , "serif";">Sees</span> <b>meaning </b><i>as being essentially
<u>‘translational’</u></i> and ‘<b>culture’ as <u>essentially multilingual</u></b> <span style="font-family: "cambria" , "serif";">by</span></span><span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> underscoring
the fact that no meaning-making system can exist in isolation or can be
autonomous ( in contrast to Saussure) </span>……this core assumption
makes it pertinent to Indian society which is mindbogglingly diverse and
multilingual</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">II) sees
literature (printed or oral or performative) as belonging to a expansive category
of artistic texts thus <b>going beyond the restrictive and colonial
print-centric view of literature</b> ..it can allow us to understand the
<u>dialogic and translational exchanges between the printed or oral literary
texts and <span style="mso-spacerun: yes;"> </span>texts from cinema, paintings,
dance or music</u></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">III)<span style="font-family: "cambria" , "serif";"> </span>is </span><span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">of <u>significant theoretical relevance</u>
to <b>Comparative Indian Literatures. </b></span>The notion
of vertical <a href="http://www.flfi.ut.ee/sites/default/files/fl/lotman_2005_on_the_semiosphere.pdf" target="_blank">isomorphism of the semiospheres</a> existing in dialogic interactions
with each other at multiple levels allows us to conceptualize a
heterogeneous and stochastic ‘Indian semiosphere’ ( and consequently Indian
literatures as being generated by the Indian semiosphere)made up of multiple semiospheres
like ‘Marathi’ or “Gujarati’ semiospheres and these semiospheres can be
conceptualized as being heterogeneous and stochastic in their own right,
interacting dialogically with one another, different spaces within and <u>interacting
dialogically</u> with cultural traditions and cultural histories that are
neither specific to Marathi nor Gujarati (Sanskrit, Prakrit, <span style="mso-spacerun: yes;"> </span>Perso-Arabic, European, Chinese, and so on).</span><br />
<br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The notion of semiosphere can also <span style="font-family: "cambria" , "serif";">eq<span style="font-family: "cambria" , "serif";">uip us to describe the cultural mechanisms underlying <a href="http://www.academia.edu/2772979/Warps_and_Wefts_of_Indian_Literatures" target="_blank">what Dionyz Durisin terms <span style="font-family: "cambria" , "serif";">' interliterary processes'. </span></a></span></span> </span><br />
</div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Similarly
one can conceptualize ‘South Asian Semiosphere’ or ‘Asian Semiosphere’ or a
Planetary Semiosphere that generates ‘ world literature’.</span><br />
<br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">One can also <span style="font-family: "cambria" , "serif";">understand gender, class and <a href="http://www.the-criterion.com/V7/n1/025.pdf" target="_blank">caste as semiospheres. </a></span><a href="http://www.the-criterion.com/V7/n1/025.pdf" target="_blank"> </a></span></div>
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<span style="font-size: large;"><a href="https://2.bp.blogspot.com/-hunqBlQNcio/WIRbfnX96OI/AAAAAAAAIoM/ThZAWAcJzXYf9UnNus6HYK--ogzRgicegCLcB/s1600/images1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-hunqBlQNcio/WIRbfnX96OI/AAAAAAAAIoM/ThZAWAcJzXYf9UnNus6HYK--ogzRgicegCLcB/s1600/images1.jpg" /></a></span></div>
<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">IV) is <b>a
radical model of cultural historiography</b></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b> </b> </span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">a) It sees
cultural historiography <u>itself</u> <i>as a narrative and translational
activity</i> involving retrospective narrative reconstruction <u>(translation)</u> of
cultural history (which is primarily unpredictable and irreversible) into the explanatory
<i>languages of the present</i> ( e.g Habermasian sociology , Butler’s gender
studies, Foucauldian analysis of discourse, governmentality or biopolitics )</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">b) it is a
model of cultural change that highlights <span style="mso-spacerun: yes;"> </span><u>differential and non-linear modes of
development</u> of the divers<u>e <i>co-existing</i> </u>meaning-making systems…for
instance fashion, food and caste change at differential rates and poetry using
the poetics of the 1940s ( the Ravi-Kiran Mandal lyricism ) can co-exist with
the poetry using the avant-garde poetics of 60s in Marathi</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">c) It is a
model of cultural change that views mechanisms of cultural change as being
primarily ‘translational’….. <b>it views the underlying mechanism in the generation of ‘the
new’ as being translational</b></span><br />
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b><a href="https://4.bp.blogspot.com/-mezr5VvVV2I/WIRaBh9jAaI/AAAAAAAAInw/IJrY9mnHvcQq_17eG9LWkx3iSIVJDAe7gCLcB/s1600/monument-dedicated-to-semiologist-juri-lotman-in-front-of-university-B359BF.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="235" src="https://4.bp.blogspot.com/-mezr5VvVV2I/WIRaBh9jAaI/AAAAAAAAInw/IJrY9mnHvcQq_17eG9LWkx3iSIVJDAe7gCLcB/s320/monument-dedicated-to-semiologist-juri-lotman-in-front-of-university-B359BF.jpg" width="320" /></a></b></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">V) It
provides tools and ideas for <u><b>practical criticism</b></u> of texts and their contexts</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>The notions of semantic tropes, ‘the
text-within-text, plot , the idea of symbol as plot-gene, continuous- discrete ( visual to verbal) dialogics and
so on.</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">VI)</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> The
mainstream academic cultural studies in India due to its excessive reliance on
French, American and British theories (which are monolingual, deterministic in
orientation) has failed to come to terms with multilingual and chaotic social
and cultural realities of India . </span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Its lack of <span style="mso-spacerun: yes;"> </span>critical self awareness can be seen in the
fact that as it criticizes modernity ( with the ideas of nation or science) as
being universalist, Euro-centric and elite on the one hand it has no<span style="mso-spacerun: yes;"> </span>issues <span style="mso-spacerun: yes;"> </span>uncritically accepting <span style="mso-spacerun: yes;"> </span>‘ Critical Theory’ whose roots go back to
Frankfurt or Birmingham or Paris <i>as if they are non-universalist,
non-Eurocentric and non-elite</i>.</span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The
mainstream academic cultural studies have become reductive as it sees ‘political
interpretation’ as the absolute horizon for all interpretation’ (as Jameson
puts it)…. and extremely predictable almost conventional. <span style="mso-spacerun: yes;"> </span>However the conceptualization of culture in
semiotics of culture <span style="mso-spacerun: yes;"> </span><i>subsumes</i> the
political as it sees cultural as fundamentally i) heterogeneous ii) asymmetrical
iii) chaotically dynamic and iv) constructivist in terms of epistemology and
cognition (seeing semiotic systems as ‘modelling’ systems)…in a sense subsumes
political to the cultural rather than reduce the cultural to the political.</span><br />
<br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">My Articles using Semiotics of Culture for Indian literatures :</span><br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> i) <a href="http://www.academia.edu/23236103/Translating_Darkness_into_Light_A_Cultural_Semiotics_Reading_of_the_Nation_and_the_Region_in_The_White_Tiger" target="_blank">Indian <span style="font-family: "cambria" , "serif";">Writing i<span style="font-family: "cambria" , "serif";">n English</span></span></a></span><br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: "cambria" , "serif";"><span style="font-family: "cambria" , "serif";">ii)<a href="http://www.museindia.com/focuscontent.asp?issid=60&id=5550" target="_blank"> <span style="font-family: "cambria" , "serif";">Indian Poetry in English</span></a></span></span></span><br />
<span style="font-family: "cambria" , "serif"; font-size: large;">iii) </span><span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="http://www.the-criterion.com/V7/n1/025.pdf" target="_blank">Namdeo Dhasal and Dalit Literature</a></span><br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">iv) <a href="http://www.museindia.com/regularcontent.asp?issid=66&id=6445" target="_blank">Modern and Mod<span style="font-family: "cambria" , "serif";">ernism in Gujarati</span></a></span><br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">v) <a href="http://www.academia.edu/25746210/City_for_Sale_A_Cultural_Semiotic_Analysis_of_Gujarati_Literary_Avant-Garde_in_Baroda" target="_blank"><span style="font-family: "cambria" , "serif";">Avant-garde Gujarati liter<span style="font-family: "cambria" , "serif";">ature</span></span></a></span><br />
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: "cambria" , "serif";"><span style="font-family: "cambria" , "serif";">vi) <a href="http://www.academia.edu/29415686/Selftranslation_as_Autocommunication" target="_blank">Poetics and P<span style="font-family: "cambria" , "serif";">olitics of Self<span style="font-family: "cambria" , "serif";">-translation</span></span></a> </span></span></span><br />
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<span style="font-size: large;"><b><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">References:</span></b></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://3.bp.blogspot.com/-zNmIJjCPNvk/WIRaTXd6IVI/AAAAAAAAIn0/mqHtZwRjYe8nsYhv_9VIWOdMgVzrwyzYACLcB/s1600/1430265517.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-zNmIJjCPNvk/WIRaTXd6IVI/AAAAAAAAIn0/mqHtZwRjYe8nsYhv_9VIWOdMgVzrwyzYACLcB/s1600/1430265517.png" /></a></span></div>
</div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><a href="https://web.natur.cuni.cz/filosof/markos/Publikace/Juri%20Lotman%20Culture%20and%20Explosion%20Semiotics,%20Communication%20and%20Cognition%20%202009.pdf" target="_blank"><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Lotman,Juri. <i>Culture and Explosion. </i>Ed. Marina Grishakova. Trans. Wilma Clark.Berlin and New York. Mouton de Gruyter. 2009. </span></a></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">--- <a href="http://www.flfi.ut.ee/sites/default/files/fl/lotman_2005_on_the_semiosphere.pdf" target="_blank">“On the semiosphere.”</a> Translated by Wilma Clark.<span style="mso-spacerun: yes;">
</span>Sign Systems Studies 33.1, 2005</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">---‘ The
Text within the Text’ . (1981) Trans. Jerry Leo, Amy Mandelker , PMLA, Vol.
109, No. 3 (May, 1994), pp. 377-384</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">---“
Technological Progress as a Problem in the Study of Culture”, trans.<span style="mso-spacerun: yes;"> </span>Ilana Gomel Poetics Today, Duke University
Press Vol. 12, No. 4, National Literatures/Social Spaces (winter, 1991), pp.
781-800. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">---<a href="https://www.scribd.com/document/106596328/Universe-of-the-Mind-a-Semiotic-Theory-of-Culture-Y-lotman-Tauris-1990-600dpi-Lossy" target="_blank">Universe of the Mind. A Semiotic Theory of Culture</a></span></i><span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">. Bloomington/ Indianapolis:
Indiana University Press. 1990. </span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://1.bp.blogspot.com/-q72JiwVg7z4/WIRag2t-9nI/AAAAAAAAIn8/yxeynq_K4T88ghCWpvxX4SyWQPowNY0GwCLcB/s1600/images.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-q72JiwVg7z4/WIRag2t-9nI/AAAAAAAAIn8/yxeynq_K4T88ghCWpvxX4SyWQPowNY0GwCLcB/s200/images.jpg" width="133" /></a></span></div>
<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">---‘Culture
as Collective Intellect And Problems Of Artificial Intelligence’, trans. Ann
Shukman, Russian Poetics in Translati0n,<span style="mso-spacerun: yes;">
</span>No. 6, 1979, pp 84-96</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "cambria" , "serif"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">---‘ The
Poetics of Everyday Behaviour in the Eighteenth Century Russian Culture’,
Translated by Andrea Beesing from “Poetika bytovogo povedeniia v russkoi
kul’ture XVIII veka,” Trudy po znakovym sistemam, no.8 (Tartu, 1977), pp.65-89</span>.</span></div>
</div>
Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-80012046681543516552016-09-08T20:47:00.002+05:302021-03-22T16:10:25.542+05:30SOME POSSIBLE AREAS OF RESEARCH ON LITERARY TRANSLATION IN INDIA<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">Many students and
researchers ask me questions regarding probable <a href="http://sachinketkar.blogspot.in/search/label/research%20method" target="_blank">areas of research</a> in
<a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank">translation studies in Indian context</a><span style="font-family: "georgia" , "times new roman" , serif;"> ( click on the link<span style="font-family: "georgia" , "times new roman" , serif;">s to read my other blog ent<span style="font-family: "georgia" , "times new roman" , serif;">ries on the subject).</span></span></span> My response would be as follows: </span></span></div>
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<br /></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">In
spite of being a vibrant multilingual society, translation studies has not developed
as much as it should have in India. There is still a wide-spread tendency among
Indian academics to conceive of translation narrowly as a process and mostly in
normative terms. <span style="mso-spacerun: yes;"> </span>Therefore, very often
in seminars and conferences, one comes across the conversations about ‘
problems’ and ‘ issues’ faced in translation often in terms of ‘ loss’ of <span style="mso-spacerun: yes;"> </span>the ‘original essence’ in translation. This
may be largely due to the stubborn persistence on the colonial notions of both
translation and literature.</span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">There
is also tendency to take up actual activity of translation of literary texts
from Indian languages into English. While this would certainly seem a good
idea, our own limitations as non-native uses of English and largely clichéd findings
regarding ‘problems faced’ <i style="mso-bidi-font-style: normal;">would not make
such a project very useful in terms of research.</i> My own advice would be to
translate contemporary literary texts, theoretical and intellectual statements <b><i><u>into</u></i></b>
non-English languages.</span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>However, translation studies (thankfully), since
the nineteen-eighties, has undergone a <a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank">paradigm shift</a> in the terms of
methodologies and critical approaches i.e in terms of research questions asked
about translation. Translation today can be conceived as a product generated by
the translating language (T.L) culture whose contextual reading and functional
analysis reveals a wealth of information about the historical development of
the receptor culture. Asking whether Gandhiji’s translation of <a href="http://sachinketkar.blogspot.in/search/label/ruskin" target="_blank">John Ruskin’s </a><i><a href="http://sachinketkar.blogspot.in/search/label/ruskin" target="_blank">UntoThis Last</a> </i>is a ‘good’ translation or not as it has involved ‘loss of
essence of the original’ will not help us to understand the immense historical
and social significance of Gandhiji’s translation. It is also interesting that
this English text was retranslated into English from Gandhi’s Gujarati version
by Gandhiji’s followers. </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><a href="https://2.bp.blogspot.com/-fQpzK-qDnfo/V9GM0bd-2pI/AAAAAAAAHDc/z1U0p5j9QHU4r3r4yqs2DHeunhu86LhpQCLcB/s1600/Sarvodaya_Navjivan.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-fQpzK-qDnfo/V9GM0bd-2pI/AAAAAAAAHDc/z1U0p5j9QHU4r3r4yqs2DHeunhu86LhpQCLcB/s320/Sarvodaya_Navjivan.jpg" width="203" /></a></span></span></div>
</div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">The idea of what is meant by
a ‘literary’ text (the conventional ‘object’ of literary studies) has also
undergone a shift, largely due to the radical developments in ‘theory’ and
cultural studies. It is no longer conceived merely as a canonical work in print,
but also as a non-canonical work in other media (visual, oral, performative) in
digital or ‘analogue’ media. Hence the translated text can be thought of any
text produced by ‘intralingual’, ‘interlingual’ or ‘intersemiotic’ translation
as famously discussed by Roman Jakobson, i.e. one can study visual adaptations,
retellings in various formats. Hence, we can study graphic novel renderings, paintings,
musical compositions, cinematic adaptations, TV series or even the stage or
dance enactments of texts (like Peter Brooks’ Mahabharata) from other languages
as translations. </span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">Translation is a decision-making
process involving choices and options at multiple levels including the selection
of the source and the target languages, the text and the author to be
translated as well as numerous strategies chosen by the translator. The
contextual analysis of translation involves deductive interpretation and
comprehension of this decision-making process in the context of social,
historical and cultural influences i.e. how have these forces impacted the
agency of the translator, while the functional analysis of translation involves
the analysis of the role of the translation in impacting the prevalent and
succeeding poetics and cultural politics of that language. Apparently, literary
research in translation studies, like literary studies in general would merge
ultimately into historiography of culture. </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-sQHAAQcX1FE/V9GM7xFKHCI/AAAAAAAAHDg/6LnhR66c-IYTMWvhhRTLabEPImzG1SNtQCLcB/s1600/1984-Peter-brook-2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="204" src="https://1.bp.blogspot.com/-sQHAAQcX1FE/V9GM7xFKHCI/AAAAAAAAHDg/6LnhR66c-IYTMWvhhRTLabEPImzG1SNtQCLcB/s320/1984-Peter-brook-2.jpg" width="320" /></a></div>
</div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">Hence research on
translation would basically deal with historiography of translation in Indian
languages. The research projects on historiography of translation can be
delimited in terms of the following:</span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">i) <span style="mso-spacerun: yes;"> </span>Specific periods (e.g translation during pre-colonial
or postcolonial times),</span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">ii) <span style="mso-spacerun: yes;"> </span>Specific language pairs (e.g.Gujarati- Marathi,
Assamiya- Bengali etc) , </span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">iii) Specific movements or genres
(e.g. The Theatre of Absurd, Dalit literature, feminism, realism or surrealism),
this may involve translation of critical texts as well as literary texts.</span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">iv) <span style="mso-spacerun: yes;"> </span>Specific authors (e.g. Tagore, Saratchandra, Shakespeare,
Baudelaire) </span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">v) <span style="mso-spacerun: yes;"> </span>Specific texts (e. g the Gitanjali or the Wasteland)
in your language and multiple translations of these texts.</span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">These projects can be
combinations of multiple delimiting parameters like, for instance, “The Feminist
Translation of Gora into Gujarati”( which I am not sure exists at<span style="mso-spacerun: yes;"> </span>all).</span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">Other projects can involve preparing
bibliography of translated texts in your language and discussion of methodology,
findings and theorization. </span></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">It may involve developing digital
tools (which would require knowledge of both cultural theory and computing) for
archiving and analysis of translated texts as a part of a digital humanities project.</span></span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;">Links to Related Sub<span style="font-family: "georgia" , "times new roman" , serif;">jects:</span></span></span></span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">i) <a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">Translation Studies in India</span></a></span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">ii) <a href="http://sachinketkar.blogspot.in/2012/07/why-translation-studies.html" target="_blank">Why Translation Studies</a></span></span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">iii) <a href="http://sachinketkar.blogspot.in/search/label/doctoral%20research" target="_blank">O<span style="font-family: "georgia" , "times new roman" , serif;">n Research in English Studies</span></a> </span> </span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">iv) <a href="https://msubaroda.academia.edu/SachinKetkar/-Translation-Studies" target="_blank">My Published <span style="font-family: "georgia" , "times new roman" , serif;">Papers on <span style="font-family: "georgia" , "times new roman" , serif;">Translation Studies</span></span> </a></span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">v) <a href="https://www.academia.edu/177928/TRANSLATION_OF_NARSINH_MEHTAS_POEMS_INTO_ENGLISH_WITH_A_CRITICAL_INTRODUCTION" target="_blank">My Doctoral <span style="font-family: "georgia" , "times new roman" , serif;">the<span style="font-family: "georgia" , "times new roman" , serif;">sis on Translation of Narsinh Mehta</span></span> </a></span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">vi) My <span style="font-family: "georgia" , "times new roman" , serif;">book on Indian Translation Studie<span style="font-family: "georgia" , "times new roman" , serif;">s (<i><a href="http://www.amazon.in/Transmigrating-Words-Sachin-Ketkar/dp/363930280X" target="_blank">Trans) Migrating Words: Refractions on</a> Indian <span style="font-family: "georgia" , "times new roman" , serif;"> </span> </i></span></span></span></span></span></span><i><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> Translation Studies</span></span></span></span></span></span></span></span></span></span> </i><br />
<i><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">vi) <a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">Read my blog on using Semiotics of Culture as a Theoretical Framework</a> for studying Indian literatures and cultures.</span></span></span></span></span></span></span></span></span></span></i><br />
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</span></span></b></u><br />
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<u><b><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">HERE IS A LIST OF
USEFUL BOOKS ON TRANSLATION STUDIES</span></span></span></span></b></u></div>
<div align="center" class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<br /></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="mso-list: Ignore;">i)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Baker, Mona.
Ed. </span><i style="mso-bidi-font-style: normal;">Routledge Encyclopedia of Translation
Studies</i><span style="font-family: "georgia" , "times new roman" , serif;">. London :Routledge, 1998</span></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">
<span style="font-family: "georgia" , "times new roman" , serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="mso-list: Ignore;">ii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Bassnett,
Susan and Harish Trivedi.ed. </span><i style="mso-bidi-font-style: normal;">Post-colonial
Translation: Theory and Practice.</i><span style="font-family: "georgia" , "times new roman" , serif;"> London and New York: Routledge, 1999</span></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">
<span style="font-family: "georgia" , "times new roman" , serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="mso-list: Ignore;">iii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Bermann,
Sandra and Catherine Porter</span><i style="mso-bidi-font-style: normal;"> <span style="mso-spacerun: yes;"> </span>ed. A Companion to Translation Studies</i><span style="font-family: "georgia" , "times new roman" , serif;">,
Wiley-Blackwell, 2014</span></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">
<span style="font-family: "georgia" , "times new roman" , serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="mso-list: Ignore;">iv)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Dingwaney,
Anuradha and Carol Maier.eds.</span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Between Languages and Cultures: Translation
and Cross-Cultural Texts</i><span style="font-family: "georgia" , "times new roman" , serif;">. Delhi: Oxford University Press. 1996</span></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;">
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">v)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Hermans,
Theo. Ed. </span><i>The Manipulation of Literature: Studies in Literary Translation</i><span style="font-family: "georgia" , "times new roman" , serif;">.(1985),
London and New York: Routledge, 2004</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">vi)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Hewson,
Lance. </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 11pt;">An Approach to Translation
Criticism: <span style="mso-bidi-font-style: italic;">Emma </span>and <span style="mso-bidi-font-style: italic;">Madame Bovary </span>in translation. </span></i><span style="font-size: 11pt;">Amsterdam/Philadelphia, John Benjamins Publishing Company, 2011</span></div>
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<span style="mso-list: Ignore;">vii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-size: 11pt;">Kothari, Rita. <i>Translating India: Cultural
Politics of Translation.</i> New Delhi, Foundation Books, 2003</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">viii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Kuhiwczak,
Piotr and Karin Littau</span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i><span style="font-family: "georgia" , "times new roman" , serif;">ed. </span><i style="mso-bidi-font-style: normal;">A
Companion to</i><span style="font-family: "georgia" , "times new roman" , serif;"> </span><i style="mso-bidi-font-style: normal;">Translation Studies</i><span style="font-family: "georgia" , "times new roman" , serif;"> ,Multilingual
Matters Ltd , Toronto, 2007,</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">ix)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Lefevere,
Andre. </span><i>Translation, Rewriting and Manipulation of Literary Fame.</i><span style="font-family: "georgia" , "times new roman" , serif;"> London
and New York: Routledge, 1992</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">x)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">---. Ed. </span><i>Translation/History/Culture:</i><span style="font-family: "georgia" , "times new roman" , serif;">
A Source Book. London and New York: Routledge, 1992</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">xi)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Malmkjær, Kirsten
and Kevin Windle ed. </span><i style="mso-bidi-font-style: normal;">The Oxford Handbook
of Translation Studies</i><span style="font-family: "georgia" , "times new roman" , serif;"> Edited by OUP, 2012</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">xii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Mukherjee,
Meenakshi. </span><i style="mso-bidi-font-style: normal;">Elusive Terrain: Culture and
Literary Memory</i><span style="font-family: "georgia" , "times new roman" , serif;">. Oxford University Press, 2008</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">xiii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">---.
Perishable Empire: Essays on Indian Writing in English. Oxford University
Press, 2000</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">xiv)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Mukherjee,
Sujit. </span><i style="mso-bidi-font-style: normal;">Translation as Recovery and Other
Essays.</i><span style="font-family: "georgia" , "times new roman" , serif;"> Ed. Meenakshi Mukherjee, New Delhi, Pencraft International, 2004</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">xv)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">---</span><i style="mso-bidi-font-style: normal;">Translation as Discovery and Other Essays.</i><span style="font-family: "georgia" , "times new roman" , serif;">
New Delhi, Allied, 1984</span><br />
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<![endif]--><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; mso-bidi-font-size: 10.0pt;">Mukherjee, Tutun.<span style="font-family: "georgia" , "times new roman" , serif;"> </span>ed.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Translation
From Periphery to Centrestage</i>. New
Delhi: Prestige Books, 1998.</span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">
</span></div>
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<span style="mso-list: Ignore;">xvii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Munday,
Jeremy. </span><i style="mso-bidi-font-style: normal;">Introducing Translation Studies.
Theories and Applications</i><span style="font-family: "georgia" , "times new roman" , serif;">. London and New York, Routledge, 2001</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="mso-list: Ignore;">xviii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Niranjana,
Tejaswini. </span><i style="mso-bidi-font-style: normal;">Siting</i><span style="font-family: "georgia" , "times new roman" , serif;"> </span><i style="mso-bidi-font-style: normal;">Translation: History, Post-structuralism and
the Colonial Context,</i><span style="font-family: "georgia" , "times new roman" , serif;"> Orient Longman, 1992</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span></span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="font-size: 11pt; line-height: 115%;"><span style="mso-list: Ignore;">x<span style="font-family: "georgia" , "times new roman" , serif;">ix</span>)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Palumbo, Giuseppe</span><i style="mso-bidi-font-style: normal;"> .Key Terms in Translation Studies</i><span style="font-family: "georgia" , "times new roman" , serif;">.
London and New York. Continuum</span><span style="mso-spacerun: yes;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">International Publishing, 2009</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">x<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">x</span>) </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Ramakrishna, S. ed. <i>Translation and Multilingualism. PostColonial
Contexts</i>, Delhi: Pencraft International, 1997 </span></span></span><span style="font-size: 11pt; line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">xxi) Ramakrishan, E.V. <i>Locating Indian </i><span style="font-family: "georgia" , "times new roman" , serif;"><i>Literature</i><span style="font-family: "georgia" , "times new roman" , serif;"><i>: Texts, Traditions, Translations</i>. Orient<span style="font-family: "georgia" , "times new roman" , serif;"> Blackswan, 2011</span></span></span> </span></span></span> </div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">xxii)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: 11pt;">Saldanha,
Gabriela and Sharon O’Brien .ed. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Research methodologies in translation
studies</i> , St Jerome Publishing, 2013</span><br />
<span style="font-size: 11pt;">xxiii) </span><span style="font-size: 11pt;">Talgeri, P and Verma<span style="font-family: "georgia" , "times new roman" , serif;">, </span>SB. eds. <i>Literature
in Translation from Cultural Transference to Metonymic
Displacement.</i> Mumbai: Popular Prakashan, 1988 </span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.75in; mso-list: l0 level1 lfo1; tab-stops: list .75in; text-indent: -0.5in;">
<span style="mso-list: Ignore;">xxiv)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Venuti,
Lawrence ed. </span><i style="mso-bidi-font-style: normal;">Translation Studies Reader</i><span style="font-family: "georgia" , "times new roman" , serif;">.
London and New York: Routledge and Kegan</span><span style="mso-spacerun: yes;">
</span><span style="mso-tab-count: 1;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Paul, 2000.</span></div>
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<span style="mso-list: Ignore;">xx<span style="font-family: "georgia" , "times new roman" , serif;">v</span>)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "georgia" , "times new roman" , serif;">Wakabayashi, Judy and Rita Kothari. Eds. </span><i style="mso-bidi-font-style: normal;">Decentering Translation Studies: India and Beyond</i><span style="font-family: "georgia" , "times new roman" , serif;">. John Benjamins
Publication, </span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Watch my video lecture on Translation Studies and World Literature </span></span></div><div class="MsoNormal" style="text-indent: 0.5in;"><span style="font-family: "georgia" , "times new roman" , serif;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UaCv7zKhkiE" width="320" youtube-src-id="UaCv7zKhkiE"></iframe></div><br /><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com5tag:blogger.com,1999:blog-4531765274219955373.post-41206113436609291602015-06-05T00:12:00.000+05:302017-01-23T15:13:08.025+05:30Choosing a Topic for the Research Project in English Studies: Some Tips<div dir="ltr" style="text-align: left;" trbidi="on">
Many students request me to suggest ‘some topic or an area’ for their post-graduate research projects. More often than not, such queries come from the assumption that post-graduate research is the ‘Third Year of MA’, that is, the teacher suggests the texts, authors and reference material, the students go to the library and basically Google the topic, followed by Control C and Control V and presto-the assignment is ready!<br />
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This conception is fairly popular, not merely with the students, but also with their teachers. In fact, the teachers have a lion’s share in spreading ‘the Third Year MA syndrome’. You only have to look at the explosive growth in the ‘Peer-Reviewed Journals of International Research with ISBN numbers’ to publish tonnes of pseudo-research based on the Third Year MA syndrome brought out by college and university teachers to publish their crap and earn ‘API or Academic Performance Index’ points that are mandatory for advancement and promotions in their careers and make some easy money. When teachers follow this model, no wonder the students also emulate their peers.<br />
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The defining characteristic of this ‘Third Year MA syndrome’ is the desire to follow the path of least resistance: to read and think as little as possible and finish that damned paper or dissertation with minimum intellectual efforts. The outcome is usually the re-re-re-invention of the wheel and coming up with clichéd and stale work on obvious themes in the canonical writers that adds nothing to what is already known about the subject. There are full-fledged Shashi Deshpande, Girish Karnad, or Diaspora factories at work in academia producing plenty of garbage. At its worst, this model is plagiarism of earlier bad research, and at its best, it is plagiarism of good research work with one’s own cosmetic surgery added to make it uglier.<br />
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I have already written about the basics of research, research question and about the format and fundamentals of writing a research proposal. Hence I am not going to rehearse these things again: Click on- <a href="http://sachinketkar.blogspot.in/2012/04/beginners-guide-to-doing-phd-in-english.html" target="_blank">A Beginner’s Guide to Doing a PhD in English Literature</a> and <a href="http://sachinketkar.blogspot.in/2014/08/writing-research-proposal-for-english.html" target="_blank">Writing a Research Proposal for English Studies: Some Hints</a>. The tips given here are for those not interested in The Third Year MA model, in short, those who are serious researchers, and are based on my earlier entries. These are not rules, but basically rules of thumb for those beginning their life as serious researchers and hence, are also obvious at times.<br />
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You have to keep in mind is that coming up with a viable research topic requires plenty of exploration (reading, thinking, discussing) and may take months. There is no short-cut here. You have to follow your own intellectual preoccupation and curiosity.<br />
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1) One of the simplest and obvious tips to start with is to consider the author, genre ( Fiction, poetry, Drama), literatures (like Gujarati literature or Indian Writing in English) or a critical idea (e. g. Gender, or Caste consciousness or both) that appealed to you the most during your BA or MA studies. However, this is not a strict rule as there is always a possibility that there are other less explored authors, literatures and ideas which you may not be very familiar with. You may also begin by exploring authors, genres, literatures and ideas you have very little idea about.<br />
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<a href="http://1.bp.blogspot.com/-AORjUFeIHus/VXCbwBBY-qI/AAAAAAAAFSc/pWoaVYt0fOY/s1600/gujarati%2Bliterature.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-AORjUFeIHus/VXCbwBBY-qI/AAAAAAAAFSc/pWoaVYt0fOY/s1600/gujarati%2Bliterature.jpg" /></a></div>
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2) The ideas and texts that appeal to you are not ‘accidents of taste’ but have links with your own life, the things that have happened to you and the relations you have with others and yourself. Remember, research in literary studies and humanities is very often search for who you are: your own gender identity (the self awareness as belonging to a particular gender), caste identity, class identity, regional or linguistic identities play a significant role in your research and intellectual life. My own research is shaped by my identity as a bilingual- male -middle class poet writing in Marathi and English, born and brought up in Gujarat and trained in study and teaching ‘Eng. Lit’ as a profession. (<a href="https://msubaroda.academia.edu/SachinKetkar" target="_blank"> Have a look at my thesis and research work by clicking here</a>)<br />
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Again, while the self consciousness about your identity will definitely make your life as researcher more interesting and may also be a valuable contribution to the identity politics, this is not a strict rule and there is absolutely no reason why a Dalit student should not explore science fiction or cyberpunk or a gay researcher should not explore the questions of indigenous/Adivasi culture and literature. There is no reason why an upper caste and upper class man not research Dalit women’s writing.<br />
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3) Researching literature and culture of the society in which you are born and brought up is far more valuable than going for the American, the British or the Continental literatures. There are two reasons for this. Firstly, because plenty of good quality research has already been conducted on these literatures, there is very little one can contribute as an outsider, unless you are going in for a comparative framework. They have already done excellent work on writers like Keats and Bernard Shaw or the themes like the Absurd or Love in Hemingway or Sex in Jane Austen, for instance, and there is very little left for us to add.<br />
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Unless, of course there is a comparative angle. Reception of Keats or Jane Austen in Marathi or Punjabi is indeed a very good idea. But then, so is the reception of Namdeo Dhasal or Arun Kolatkar in Tamil.<br />
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Secondly, the research which contributes to your own society and culture is in my view more relevant and necessary than the research which would contribute to the American or Canadian society. As ours is a multilingual, casteist, patriarchal society with a history of colonial experience and globalization, exploring the questions of literary historiography, translation, caste, genders, modernity, regional identities, technology, and consumerism in cultural texts ( not just the literary ones, but also popular cultural texts like films, TV serials and bestsellers) in Indian languages (including English) using comparative frameworks of postcolonial studies, gender studies, Dalit studies and cultural semiotics will make your research interesting and relevant to present times.<br />
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<a href="http://3.bp.blogspot.com/-Q-fPVo4NLNo/VXCa77JPpTI/AAAAAAAAFSI/piGAN2OnMOE/s1600/namdeo%2Bdhasal.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="117" src="https://3.bp.blogspot.com/-Q-fPVo4NLNo/VXCa77JPpTI/AAAAAAAAFSI/piGAN2OnMOE/s320/namdeo%2Bdhasal.jpg" width="320" /></a></div>
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So these are my ‘tips’ for the beginners, and I would love to hear more from you and other scholars about what you think of these. You can also check out my blog on <a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank">Translation Studies in India </a>and <a href="http://sachinketkar.blogspot.in/2011/07/complayt-comp-lit-or-complete-or-what.html" target="_blank">Comparative Literature</a> and you can also check out my blog on <a href="http://resistancetotheory.blogspot.in/" target="_blank">Literary theory</a> .<br />
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<a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">Read my blog on using Semiotics of Culture as a Theoretical Framework for Indian Literatures and Cultures.</a><br />
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com15tag:blogger.com,1999:blog-4531765274219955373.post-15989855985068597752014-09-08T10:11:00.000+05:302014-09-08T10:11:01.235+05:30'The Age of OBCs in Indian Literatures'? Rethinking Indian Literatures and the Question of Caste Identity<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; font-family: Georgia, Times New Roman, serif;">The study of relationship between caste and literature in India has primarily been dominated by the Dalit Studies, which justifiably interrogates the ' Sawarna-Upper Caste' hegemony in literary and cultural studies from the Ambedkarite position. Statistically speaking the Dalits, ( the former ' untouchables') who are usually categorized as ' Scheduled Castes' ( SC) and Scheduled Tribes (ST) by the constitution of India, form roughly 30% of Indian population as per 2011 census. Approximately 40 % of population in India comprises of a multitude of castes and communities classified as ' Other Backward Classes' or 'OBC'. The Wikipedia graph about the OBC is informative.</span><br />
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<a href="http://4.bp.blogspot.com/-J9RIv9pKpkw/VA0q1VImiCI/AAAAAAAAE5k/kT7AfC1H1jM/s1600/PopulationEstimations.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: white; font-family: Georgia, Times New Roman, serif;"><img border="0" src="http://4.bp.blogspot.com/-J9RIv9pKpkw/VA0q1VImiCI/AAAAAAAAE5k/kT7AfC1H1jM/s1600/PopulationEstimations.jpg" height="156" width="320" /></span></a><br />
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<span style="background-color: white; font-family: Georgia, Times New Roman, serif;">Friends of South Asia or FOSA has put together a website<a href="http://www.friendsofsouthasia.org/caste/reservations/faq.html" target="_blank"> Friendsofsouthasia.org</a> which provides useful information about this social category. It notes, " The OBCs comprise, by and large, the lower rungs of the Sudras who, in the past, suffered from varying degrees of ritual prohibitions applied to the <span style="font-style: italic;">a-dvijas</span> (literally, those not twice-born) and remain till today socially and occupationally disadvantaged". It also notes, " <span style="text-align: left;">"OBCs, by profession, being small cultivators, agricultural laborers, artisans and also being engaged in weaving, fishing, construction work, etc. and these occupations being common to SCs and OBCs, the status of OBCs cannot be treated as very much different from that of SCs ....OBCs constitute a majority of poor and backward population which produced a variety of goods and services, but on terms and conditions unfair to them."</span></span><br />
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<a href="http://2.bp.blogspot.com/-Axqi0Wwgsjk/VA0m8HqVTRI/AAAAAAAAE5Y/x4hbmCrQXU4/s1600/sarang%2Bbook.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: white;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="http://2.bp.blogspot.com/-Axqi0Wwgsjk/VA0m8HqVTRI/AAAAAAAAE5Y/x4hbmCrQXU4/s1600/sarang%2Bbook.jpg" height="320" width="201" /></span></span></a><span style="background-color: white; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">However, in the study of sociology of Indian literature, the category of ' OBC' has not received the importance it deserves. One of the most significant statements comes from a renowned Marathi writer Vilas Sarang (1942-). In his provocative essay, <a href="http://www.scribd.com/doc/30737716/khel-vilas-sarang-visheshanka" target="_blank">" Marathi Sahityatil OBC Yug' ( in the magazine ' Khel' vol. 7, 2007</a>) he attempts to theorize the relationship between this societal category and the poetics practiced by these writers in terms of the questions of identity. The essay is later anthologized as ' Marathi Vangmaiyatil Madhyamvarniya Yug' in his collection of essays Vangmaiyeen Sauskruti ani Samajik Vastav (2011). </span></span><br />
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<span style="background-color: white; font-family: Georgia, Times New Roman, serif;"><span style="text-align: left;">Sarang points out that this mass of ' Other Backward Classes' is a heterogeneous and scattered one. It lacks any ' face of it's own'. </span><span style="text-align: left;"> </span><span style="text-align: left;">Historically, the modernist poets of the nineteen forties and the fifties in Marathi like BS Mardhekar or Vinda Karandikar were from the upper-castes. After the sixties, the Dalits and OBCs started making in-roads into Marathi literary world. While the Dalits were aggressive and assertive, the OBC writers were very often on the ' middle grounds'. </span><span style="text-align: left;">Sarang points out that Bhalchandra Nemade, a major OBC writer of this period, failed to provide leadership as he remained closer to the identarian politics of ' grameen' writing and 'sub-culture' ( pot-sauskruti) politics. </span><span style="text-align: left;"> As the time proceeds, the ' grameen (rural) literature' will give way to the category of ' OBC' literature, Sarang notes. In short, great shift in literary values is under way. </span></span><br />
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<span style="background-color: white; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">Sarang remarks that in terms of literary practice, it did not have a poetics of its own. It often used the brahminical upper caste aesthetics, or used the Modernist idiom, or used the Dalit poetics or often followed the poetics of' grameen' or ' rural' literature. After 1980, Sarang argues, however the situation changed and the OBC writers started asserting themselves in poetry. Their preferred mode was 'realism' which gave rise to ' realistic and unadorned poetry in Marathi.' They could not identify with the poetic idiom of the poetry of earlier generation be it conventional-romantic one or be it modernist one. It seems the OBCs' search for their own identity, their own face and their own voice will be critical for Indian cultural scenario.</span></span><br />
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<span style="background-color: white; font-family: Georgia, Times New Roman, serif;"><span style="text-align: left;">Sarang's conceptualization, irrespective of its accuracy, is fascinating and has far-reaching implications for literary studies in India. It is interesting how he changed the title of his essay from ' OBC' Yug (2007) to ' Madhyam Varniya' ( of Middle Varna) in his collection in 2011, probably to avoid controversy. </span><span style="text-align: left;">However, some questions need to probed further. For instance, why did the OBCs stay away from Dalit politics and poetics? What was the impact of the Mandal Commission implementation and the rise of OBCs as a force in Indian politics on the way Indian literature was read and written? What is the impact of the swing of the OBCs towards the erstwhile upper caste party BJP ( see the statistics from the Hindu given below) on cultural politics of India, especially, the identarian ones? Specifically, with the OBC as a Prime Minister who has a thumping support from the upper-castes as well, what will be the trajectory of OBC identity politics in India? </span></span><br />
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<span style="background-color: white; font-family: Georgia, Times New Roman, serif;">As the Friends of South Asia website tells us, the OBC is a dynamic category. What we need today is more contemporary sociological framework in the study of Indian literature to explain this dynamics and I don't think we are anywhere near to deal with this. </span></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com2tag:blogger.com,1999:blog-4531765274219955373.post-61810380832960855362014-08-31T23:27:00.002+05:302017-03-27T13:49:54.619+05:30Writing a Research Proposal for English Studies: Some Hints<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="line-height: 150%; text-align: justify;">Coming up
with a clear research proposal is the foundation of your research project. The
clarity you bring to your research proposal goes a long way in impacting the
quality and velocity of your work. Any research proposal is basically a statement
and plan of your research project that explains </span><i style="line-height: 150%; text-align: justify;">what</i><span style="line-height: 150%; text-align: justify;"> you want to do, </span><i style="line-height: 150%; text-align: justify;">why</i><span style="line-height: 150%; text-align: justify;">
is it important to do it, and </span><i style="line-height: 150%; text-align: justify;">how</i><span style="line-height: 150%; text-align: justify;"> you
propose to do it. The following write-up offers some hints for a beginner who intends
to take up a post-MA research project leading up to an M.Phil or a Ph.D in
English studies in India. My hints are mainly regarding exploratory, qualitative
research in literary studies in an Indian context. English Language Teaching
not being my field, my suggestions and observations will come from literary
studies.</span></div>
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One of the
major difficulties faced by an aspiring researcher while coming up with a sound
research proposal is having insufficient clarity about the research question.
Many Indian post-graduates approach me asking for what ‘topic’ they should
select for their research- or even worse, that they have already found one, and want me to supervise it. Most of the times
these ‘topics’ are dreadfully clichéd, and the researchers often come up with a
justification that they selected them because ‘they liked it and are interested
in it’. I say, “Good for you that you are interested. I am not.” It is then
that they start asking me what topic would be good. This happens largely because of the ignorance
of what research in literary studies is. I suggest the beginner to look up my
earlier blog entry <a href="http://sachinketkar.blogspot.in/2012/04/beginners-guide-to-doing-phd-in-english.html" target="_blank">‘A Beginners Guide to Doing A PhD in English’</a> for help in
this regard. In very early stages, one can only decide a broad area of research
interest which may tentatively include specific form/s, author/s and literature/s.
I suggest that one should go for the area which one can relate to, or appeals
to you as a human being, and excite you. </div>
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The research
question comes from what is called the<i> ‘research
gap’, a ‘gap’ in the existing knowledge, an unexplored or an under-explored aspect
of the textual archive</i> (the body of texts termed as ‘primary sources’).
This gap may be an unexplored or under-explored methodological (or theoretical)
<i>angle </i>that one brings in to bear on a
canonical archive- as for instance ‘Caste Consciousness in Sri Aurobindo’s <i>Savitri’</i> which deploys ideas and insights
from Dalit studies in reading the canonical Indian Writing in English text, or
it may be an underexplored textual archive ( primary sources) using an established theoretical framework -as
for example in ‘Postcoloniality and the question of Identity in contemporary
Gujarati Poetry’. Identification of the
research gap makes your project specific. <a href="http://ketkar.blogspot.in/2012/12/warps-and-wefts-of-literary-traditions.html" target="_blank">(Check out my blog on application of the theory of interliterariness to Indian literature)</a></div>
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It is
important to note that I have assumed that after the ‘crisis in English studies’
debate of the late nineteen eighties, English studies in India have moved far
beyond the study of ‘English Literature’ or ‘Indian Writing in English’, and
have imbibed the spirit of comparative literature ( You can read my entry on<a href="http://sachinketkar.blogspot.in/2011/07/complayt-comp-lit-or-complete-or-what.html" target="_blank"> Comparative Literature</a> and <a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank">Translation Studies in India</a> on this blog) in being open to literatures
in Indian languages (‘bhashas’ as Prof GN Devy terms them) and open to the
expanded notion of the text which includes films, popular literatures, visual
culture, oral narratives, and popular culture. This makes the research work inevitably
interdisciplinary in nature. I am aware that this assumption is not always accepted
by many English departments in India. However, this is the assumption I uphold and
promote.<a href="http://sachinketkar.blogspot.in/2017/03/how-to-read-literary-translation.html" target="_blank"> (Check out my blog on how to read translation)</a></div>
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Identifying
the ‘research gap’ and arriving at the research question will automatically
lead to ‘why’ and ‘how’ of your research project. Obviously, in trying to
locate what is unexplored or underexplored in your domain, <i>you have to find out what is already explored</i>. This demands <i>extensive reading of already existing
knowledge</i> (‘secondary sources’) in the particular domain. Mentioning what
you have read in your research proposal is often called ‘Review of Literature’.
This extensive pre-reading is <i>indispensible
in</i> <i>formulating your argument </i>which
is <i>the backbone</i> of your research
project. The argument begins when you either disagree with prevalent views and
ideas about your subject or you start being aware of the limitations of these
views. The ‘why’ of your research (rationale/objectives/ justification) emphasizes
the underexplored aspects of your subject and the limitations of the already
prevalent views. The rationale also underscores the <i>contemporary social relevance</i> of your research project (the scope
and significance). It implies that the knowledge that you produce will be
useful and contributing for the society that you inhabit by promoting enhanced
understanding of itself. In my personal view,
the research projects dealing with languages and cultures of the society we
inhabit, the Indian society, have more direct relevance than those dealing with
societies and cultures which are distant from us. <a href="http://sachinketkar.blogspot.in/2016/09/some-possible-areas-of-research-on.html" target="_blank"> (Check out my blog on the possible areas of research in translation studies)</a></div>
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The ‘how’ or
the question of ‘method’ of the research project follows logically from ‘what’
and ‘why’ of it. Using Griffin’s distinction between ‘skills, methods and
methodology’ (2005), one can say that ‘Postcoloniality and the question of
Identity in contemporary Gujarati poetry’ will evidently use exploratory,
qualitative methods involving textual analysis and explication. It might
include oral interviews, archival methods, and draw upon the methodological frameworks
from comparative studies, postcolonial studies, and identity studies. I
recommend <i>Research Methods for English
Studies </i>(2005)<i> </i>edited by Gabriele
Griffin to everyone who want to do research. <a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">(Check my blog on Theorizing Indian Literatures for a brief introduction to Semiotics of Culture as methodology)</a></div>
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As I am
talking about exploratory and qualitative research in humanities, it is not
necessary to talk about ‘hypothesis’ the concept which belongs more accurately
in the domain of natural sciences. As MPhil and PhD programs come with their
own time-frames in India, it is not very important to talk about them either. Chapterization
of the thesis also comes later and need not be laid down or may be mentioned
tentatively. The ‘what’, ‘why’ and ‘how’ is usually followed by a list of
important books and articles (bibliography) you have mentioned in your ‘Review
of Literature’ section. You should use the format given by MLA Handbook (8th
Edition).<br />
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So the
outline of your research proposal may be as follows:</div>
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I) The Title
and the Topic: The discussion of ‘what’ of your project, the research question
in specific terms, and a brief introductory background to the author/s, and
texts.</div>
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II) Rationale
(‘why’ is it important): The discussion of the ‘research gap’, ‘Review of
Literature’ and its social significance. </div>
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III)
Methodological (Theoretical) Framework: The discussion of the relevant theoretical
concepts and ideas and their justification.</div>
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IV) Bibliography</div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com9tag:blogger.com,1999:blog-4531765274219955373.post-72760571346736362422014-04-01T12:33:00.000+05:302017-01-23T15:14:51.526+05:30Translation Studies in India: A Brief Overview<div dir="ltr" style="text-align: left;" trbidi="on">
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Translation
studies in India is an evolving discipline.
Historically, it was only in mid-nineteenth century that the translation
became a significant intellectual issue in India when the question of ‘imagining
a nation’ became problematic with the realization of multilingual and
multiethnic nature of Indian society. While the idea of nation as a linguistic
and cultural unit based on the Eurocentric model started appearing clearly
inadequate, translation started to appear as an urgent cultural necessity for
nationalistic, indologicial and orientalist projects. The earliest writings on
translation in India emerged during this period of the rise of print capitalism
and Vishnu Shastri Chiploonkar’s <i>Nibandhmala</i> in Marathi in 1874 can be
seen as one of the earliest attempts to intellectually confront the issue of
translation. </div>
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Practitioners and thinkers
of this period like Romesh Chander Dutt, and Sri Aurobindo reflected on
translation from nationalistic, indological and orientalistic perspectives. The
source language, needless to say, was largely Sanskrit and the target language
was very often English.</div>
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It was only
in post- independence period, that the dissatisfaction with the nationalistic,
indological and orientalist idea of culture and nation made Indian
intellectuals to search for alternative models of theorizing and reflecting on
nation and civilization. The questions of regional and linguistic identities
became prominent during the processes of linguistic reorganization of states.
The questions of caste and gender identities and the movements against
discrimination and injustice started gaining ground. In such a context, the
idea of nation as an elitist upper caste, upper class and patriarchal construct
started being vigorously interrogated. The little magazine movements
challenging the predominant formalist and idealist poetics also started
questioning the political underpinnings of the established literary culture. It
was against this politics of interrogation and revision that the questions of
translation started being posed. The major practitioners and scholars of this
period like AK Ramanujan, Dilip Chitre, Sujit Mukherjee among many others
approach the questions of translation in the context of this shift from
nationalist, orientalist elitist framework to more regional/ local and demotic
outlook towards culture and nation. This shift is clearly noticeable in their
choice of source languages and texts which are very often from the marginalized
oral, folk and ‘native’ traditions or from <i>bhashas </i>instead of<i> </i>Sanskrit.
Their reflections on translation also reveal these re-visionary attitudes.</div>
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However, most
of the thinking about translation practiced by academics in this period not
just in India was around the ‘problems’ of translation very often in a
normative way and limiting itself to viewing translation as a process. Internationally,
the shift from this normative, process-oriented and hierarchic view of
translation to more descriptive, product-based, ideological and subversive view
of translation emerged only with the rise of ‘translation studies’ as a
discipline in the nineteen seventies. </div>
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The late
nineteen eighties and nineties was an exciting period for the discipline of
translation studies in India. Seminal writings like GN Devy, <i>In Another
Tongue: Essays on Indian English Literature</i> (1993), Sujit Mukherjee’s <i>Translation
as Discovery and Other Essays on Indian Literature in English Translation </i>(1994),
Tejaswini Niranjana, <i>Siting Translation History, Post-Structuralism, and the
Colonial Context</i> (1995) and invaluable anthologies like Promod Talgeri, and Verma. S.B. eds. <i>Literature in Translation from
Cultural Transference to Metonymic Displacement</i> (1988), AK Singh ed. <i>Translation: Its theory and
Practice</i> (1996) , Dingwaney,
Anuradha and Carol Maier.(eds.) <i>Between
Languages and Cultures: Translation and Cross-Cultural Texts</i> (1996) S.Ramakrishna ed. Translation and
Multilingualism. PostColonial Contexts
(1997), Tutun Mukherjee ed. <i>Translation: From Periphery to Centrestage</i>
(1998) and Susan Bassnett and Trivedi eds. <i>Post Colonial Translation: Theory
and Practice. </i>(1999) burst upon the scene. Most of these writing build upon
the reflections and practice of translator-scholars like A. K. Ramanujan. These
writings are not only informed by the ‘ cultural’ turn in translation studies
but also draw heavily upon theorization of postcolonial studies, gender
studies, Dalit studies and post structuralism.</div>
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With the
twenty-first century, globalization permeated nook and corner of Indian society
forcing people to seriously rethink the questions of nation, cultural
identities, languages and civilization. The explosive growth of digital
technology in form of the internet, cellphones and social media in the
beginning of the twenty first century has altered the way people communicate
and process information and knowledge. The economic reforms from the nineteen
nineties of liberalization and privatization intertwined with the processes of globalization
producing a new urbanized middle-class and a distinctive landscape dominated by
multi-storied complexes, mega-malls and proliferation of multiple types of
automobiles. The economic growth was not without its catastrophic implications.
The rise of religious fanaticism, terrorism, alarming development of farmers
committing suicide and environmental disasters accompanied by growing
criminalization and corruption of public life raised new questions before
Indian society. The politics of electoral democracy in the post-Mandal period
when there was a reconfiguration of politics of caste and reservations has
undergone substantial shift. The questions of very existence of Indian
languages, marginal identities, ethnic minorities, and natural environment have
become more acute than ever. At this juncture it will be fruitful to think of
how translators and translation scholars engage with these new questions. It will
be interesting to find out how translation studies scholars extensively and
intensively deliberate upon the complex emergent issues like:</div>
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</span></span><!--[endif]-->Translation in India and the Digital Revolution</div>
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</span></span><!--[endif]-->Translation and the Fate of Indian Languages</div>
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</span></span><!--[endif]-->Translation and the question of Literary
Historiography of post-Independence Indian Literatures</div>
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</span></span><!--[endif]-->Politics of Translation between the <i>Bhashas</i>
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</span></span><!--[endif]-->Poetics and Politics of Translation of
translating marginal literary discourses like the Dalit literatures, the
Adivasi literatures and LGBT writings into English and into Bhasha</div>
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</span></span><!--[endif]-->Politics and Mechanics of Film and TV Adaptation
and subtitling into Indian Languages</div>
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<li><span style="line-height: 150%; text-indent: -0.25in;">Translation and Corpora Linguistics in India</span></li>
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Read More about Translation Studies Elsewhere on My Blog by clicking <a href="http://sachinketkar.blogspot.in/search/label/translation%20studies" target="_blank">HERE</a><br />
<i style="text-indent: 48px;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 16.8667px;"> <a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">Read my blog on using Semiotics of Culture as a Theoretical Framework</a> for studying Indian literatures and cultures.</span></span></i><br />
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0tag:blogger.com,1999:blog-4531765274219955373.post-65382916237500091932013-06-26T00:08:00.000+05:302014-06-20T14:12:24.364+05:30OF AERIEL ROOTS AND THE BANYAN CITY<div dir="ltr" style="text-align: left;" trbidi="on">
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In the scorching Baroda summer of 1993, a young man from a place called Valsad walks into a smallish room for his viva of MA entrance test. The room is packed with some of the most renowned professors from the Department of English, the Maharaja Sayajirao University of Baroda. He finds himself facing Prof. Ranu Vanikar, the then Head of Department, and Prof. G. N.Devy among others. In response to the standard question regarding his favourite writers, he has the audacity of an undergraduate to say, “Sri Aurobindo is one of my favourite writers and I have translated some portions from Savitri into Hindi.” This brings smile on the face of Prof Devy. It is one of those famous Devy smiles which no has managed to decipher till date- whether it is ironical or pleased or both or neither. For Prof Devy, a renowned Aurobindo scholar himself, it was probably all these things. He asked me further questions regarding his poetry and the only answer which I recall after twenty years is that his poetry was ‘metaphysical’ but not in the sense Donne’s or Marvell’s poetry is metaphysical. (I actually got away with it).</div>
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<span style="text-align: justify;">Two decades after that curious incident, I will be sitting in the same room listening to such audacious undergraduates appearing for their MA entrance viva in the scorching Baroda summer, this time as a teacher. It is a privilege and a humbling experience to be in the same place where the internationally renowned scholars like Prof Devy, Prof Kar, Prof Joneja, Prof VY Kantak, and Prof Birjepatil or giants like Sri Aurobindo and AK Ramanujan once “professed” literature. Sri Aurobindo and AK Ramanujan are some of the most important names in Indian literature; famous for their fabulous creative writing, translations, sharp and erudite criticism and philosophy. It is the legacy of multilingual creativity, translation, and comparative research which I inherit as a modest practitioner of same activities. I write poetry and criticism in Marathi and English and I translate into these languages. I translate from all four languages I know. I have guts to say this as I seem to have retained some of the audacity I had when I was an undergraduate student.</span><br />
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The person who walked into the MA program of the MS University in the year 1993 was not the same person who walked out of it in 1995. I did my Bachelors from J. P. Shroff Arts College, Valsad. Valsad is a small non-metropolitan town, where English is not just spoken in Gujarati, but also taught in Gujarati. What we studied was a standard and astonishingly outdated ‘English Literature’ canon, comprising of the usual suspects: starting out with Chaucer, Shakespeare, Marlowe, Milton, Pope, Dryden, the Brontes, Blake, Austen, Shelley, Keats, Arnold, Tennyson, and Browning and ending with T.S Eliot, with lots of whimper and no bang. For literary criticism, we had books like <i>English Literature: An Introduction for Foreign Readers</i> by R. J. Rees (published in 1973) and a strange book called <i>The Making of Literature </i>by Scott James written in 1946. The books were in the syllabus ever since they were published or probably ever since Scott-James was born. The reason for their eternal recurrence was the fact that the professors of the affiliated colleges were so much in love with the notes on books which they had inherited ( or made) when they students, that they were unwilling to part with their treasure. The Scott-James book was not even meant as an introduction to literary criticism. It grappled with a specific and rather worthless issue of literary criticism, namely that of whether only writers can be good critics. However, the only thing that can reassure Mr. Scott-James (if he is dead and in his grave) is the fact that no one read it. Most of the students read bilingual ‘guides’ brought out by Popular publication, Surat only, and most of the teachers too did not read it. Most of the teachers and most of the students gave a damn about literature and fancy things like that. The students selected English as a major subject for their bachelors because they thought it might improve their English, raise their social status, and add some glamour to the BA degree which was groveling at the lowest rung of the Varna-Jati system of higher education in India.</div>
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I was obviously an odd man in this set up. I had completed my higher secondary schooling in the science stream, and much to the annoyance of many of our family friends and acquaintances, selected Arts stream with English Major. My dad, a steno-typist and literature lover himself believed that a person who knows English and has a degree in English and knows steno-typing will never die of hunger. So much for parental expectations. When Dr. Madhurita Choudhary, a young, freshly appointed lecturer asked us why you have opted for English major, I bluffed that I wanted to go for journalism. Actually I did not have guts to give the real answer. The real answer was I had scored 53% in my HSC and doing BA with English and doing stenography side by side would ensure that I don’t starve. And yeah, I wrote poetry and yeah, I loved literature and yeah, I loved English literature. But then I loved English and Biology as subjects in my higher secondary education and when the board results were out, I had barely managed to pass in these subjects! I remember scoring 41 out of 50 in English in my internal examination and in the board examination, I retained the score of 41, but this time out of hundred! By then I had fallen in love with Lewis Carroll, Jerome K Jerome, William Blake, TS Eliot and Wallace Stevens( whose poems did not make any sense when I had read it then and do not make any sense even today for me, but then who cares for silly things like meaning these days?) in my higher secondary English text books. Come to think of it, my school curriculum was in fact more exciting than my college one! However. The damage had already been done. I was beyond repair.</div>
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So when the undergrad college started, I loved Keats and was smitten by <i>Macbeth</i> and <i>Julius Caesar</i>. I even loved Milton. (Imagine!) (While doing my MA, Prof Devy had asked us to read <i>Paradise Lost </i>Book I and was convinced no one would read it. It so happened that I read it and told Devy about it. His comments were typical Devy comments: “Milton has found a reader, at last.”). </div>
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I was so much in thrall of <i>Macbeth</i> that I tried to translate some portions into Hindi! It was the devastating magic of literature and its overwhelming power that turned me into translator. I translated into Hindi because it was the only Indian language which I could write more or less properly and because I loved Hindi at school too. Yes, I loved literary criticism and actually found Scott-James interesting, because he was looking at the relationship between the creative writer and the critic-the question which was staring me as a writer and wannabe scholar in face. </div>
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When I joined the MS University Department, I was in a strange and exciting world. Prof Kar was lecturing on Deconstruction and Derrida, almost as if on an auto-pilot. Prof Joneja was talking about his Greek inheritance while teaching Aristophanes. I distinctly remember him mentioning in the class that his nose showed his Greek ancestry.</div>
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Prof Devy had won Sahitya Akademi prize for his polemical nativist book <i>After Amnesia</i> and was a celebrity. It was the aftermath of the Age of Theory and it was the Age of ‘Crisis in English Studies’ studies debates in our country. A wide array of theories like Feminism (didn’t hear much of Gender studies much in those days), Deconstruction, structuralism, culture studies and what have you.</div>
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The Department had a paper called ‘Politics and Ideology of Teaching English’ in those days,-probably modeled on something similar in the JN University. I read a “radically heterogeneous” canon comprising of writers as dissimilar as Kafka, Holderlin, Faulkner, Stevens, Brecht, Namdeo Dhasal, Ravji Patel, Eliot, Stevens (Yea! Stevens once again, and this time too he made no sense but made me love him even more), Shakespeare and Basheer. And equally “heterogeneous” array of critics and theorists like Derrida, Barthes, Foucault, Lacan, Poulet, Iser, Stanley Fish and the rest of them. The leap from Scott- James to Lacan was indeed a quantum one. The seminars and discussions in the Department were exciting. I listened to the internationally renowned faculties digress from the topics they were supposed to teach with fascination and awe. The juicy digressions and debates opened up a wealth of insights which have shaped me as a researcher and creative writer today. </div>
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Yes, I also realized that plays are meant to be performed on the stage rather than just read in classrooms. The Shakespeare Society staged plays often in those days and I remember watching Tennessee Williams’ The Glass Menagerie and Mahesh Elchunchwar’s Reflection. I remember enjoying Dr Arvind Macwan strumming on his guitar and Dr. Rani Dharkar, who is a noted novelist today, teaching us Girish Karnad. The program liberated me intellectually and creatively. All these things would not have been possible had I stayed in Valsad. </div>
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I taught Lacan, Fish and Derrida for many years in Baroda. Whether I lived up to the levels of Prof Kar or Prof Devy, I simply don’t know. But what I do know, is the profound impact these teachers and texts have made on me is the one that has made me who I am today as a teacher. Obviously, the two years I spent doing MA are unforgettable not just because of the teachers and the texts, but also due to great friends I made- and yes most of them are on Facebook today. Someday I will write another entry about these things. </div>
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So when the college reopens, I will be sitting in probably the same room where I had faced my MA interviews as a student, and when yet another youngster from some god-knows-which place will walk into the room, I will wonder about what influence this department will leave on her when she goes out. Frankly, I am scared. I am excited.<br />
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com4tag:blogger.com,1999:blog-4531765274219955373.post-16439729043799056572013-02-20T19:13:00.000+05:302017-03-27T13:45:57.570+05:30Kavya Bhashantar Sutras <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-IN" style="font-family: "cambria" , serif; font-size: large;">Sri Sachin Ketkar virachitam<o:p></o:p></span></b></div>
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<span style="font-size: large;"><b><i><span lang="EN-IN" style="font-family: "cambria" , serif;">Kavya Bhashantar</span></i></b><b><span lang="EN-IN" style="font-family: "cambria" , serif;"> Sutras <o:p></o:p></span></b></span></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra 1: Poetry (and
literature) is not one but many.<o:p></o:p></span></i></b></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
1.1 Definitions of the term ‘poetry’, are contested and multiple. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Hence
the term ‘poetry’ does not refer to a single type of text but it refers to
various types of texts.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
1.2 The Sanskrit term like <i>Kavya</i> is a
broader category than the English term <i>‘poetry’</i>
as it includes prose narratives, verse narratives, lyrics, oral narratives,
narratives in standard languages as well as dialects. (See Bhamaha: Kavya
Alamkara 6<sup>th</sup> Century AD). <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
1.3 <i>What is poetry for Tom might be religion for Jerry</i>.<o:p></o:p></span></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra 2: Translation is not one but many.<o:p></o:p></span></i></b></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
2.1 Definitions of the term ‘ translation’ are contested and multiple.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
2.2 Hence, the term does not refer to a single type of activity but it refers
to various types of activities of rewriting and transposing texts in other
languages. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
2.3 Roman Jakobson talks about three types of translations: interlingual,
intralingual and Intersemiotic<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika<i> 2.4 Bhashya</i>, adaptations and dubbing is
also forms of translation. Consider ‘ Bhavaarth Deepika’ as a native form of
translation<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika<i> 2.5 Anuwaad</i> literally means ‘speaking
after’ the teacher, usually to memorise.<o:p></o:p></span></div>
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<span style="font-size: large;"><i><span lang="EN-IN" style="font-family: "cambria" , "serif";">Bhashantar</span></i><span lang="EN-IN" style="font-family: "cambria" , "serif";"> literally means changing language.<o:p></o:p></span></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Bhashantar
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
2.6 What we are doing is we are
repeating the production of the text in a different language.<o:p></o:p></span></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra 3: A distinction between
a ‘prescriptive’ approach and a ‘descriptive’ approach to translation has to be
made in any discussion of literary translation.<o:p></o:p></span></i></b></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
3. Most of the discussion on ‘problems of translation’ are of normative or
prescriptive type.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Prescriptive
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<span style="font-size: large;"><b><i><span lang="EN-IN" style="font-family: "cambria" , "serif";">Sutra 4: What is translation
for Tom is the original for Jerry.</span></i></b><i><span lang="EN-IN" style="font-family: "cambria" , "serif";"><o:p></o:p></span></i></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNoSpacing">
<a href="http://1.bp.blogspot.com/-Tiq8tRuPfPI/USTRW5s2ijI/AAAAAAAAEWg/fzHJSBE4lZE/s1600/tomjerry.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><img border="0" src="https://1.bp.blogspot.com/-Tiq8tRuPfPI/USTRW5s2ijI/AAAAAAAAEWg/fzHJSBE4lZE/s1600/tomjerry.jpg" /></span></a><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika 4.1
The ideas of ‘ loss’ and ‘ gain’ in translation are always relative to
the position of the observer<b>.<o:p></o:p></b></span></i></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">The
person who complains about <b>‘loss’</b> in
translation is speaking from the perspective of the <i>Source Language Bilingual</i> who
notices that the Translated text is very different from the Source Language
Text and hence does not like it.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">The
real audience of translation is the target language user who has no access to
the source except through translation.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika 4.2: From
the point of view of a such a target Language Reader <i>any
translation however bad is a gain</i>.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra 5: The Schleiermacher Sutra<o:p></o:p></span></i></b></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika
5. 0 There are only two methods of translating: “Either the translator leaves
the author in peace, as much as possible, and moves the reader towards him; or
he leaves the reader in peace, as much as possible, and moves the author
towards him.”<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNoSpacing">
<a href="http://1.bp.blogspot.com/-0ccSpAiDpRY/USTRfKhJ9TI/AAAAAAAAEWo/6Bvj5aOxYKg/s1600/schermacher.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="https://1.bp.blogspot.com/-0ccSpAiDpRY/USTRfKhJ9TI/AAAAAAAAEWo/6Bvj5aOxYKg/s1600/schermacher.jpg" /></span></a><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">[‘On
the Different Methods of Translating’, trans. Andre Lefevere, in Lefevere’s
Translating Literature: The German Tradition from Luther to Rosenzweig (Assen
and Amsterdam: Van Gorcum 1977), 67–89]<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">The
first is nativizing the foreign text and the second one is foreignizing the
native language. The first one is domesticating and the other is foreignizing.<o:p></o:p></span></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><br /></span></i></b></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><br /></span></i></b></div>
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<b><i><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra 6: The Wittgenstein
Sutra<o:p></o:p></span></i></b></div>
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<b><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika 6: There is no such a thing as a good or bad
translation or the way of translation in the absolute sense of the terms. <o:p></o:p></span></b></div>
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<a href="http://2.bp.blogspot.com/-Hf4yFS3TuBc/USTR1sTZD1I/AAAAAAAAEWw/bbaOtmfAG9U/s1600/witgenstein.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="320" src="https://2.bp.blogspot.com/-Hf4yFS3TuBc/USTR1sTZD1I/AAAAAAAAEWw/bbaOtmfAG9U/s320/witgenstein.png" width="266" /></span></a></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Wittgenstein
in <i>A Lecture on Ethics</i> (1929) makes a
distinction between what is ‘relative and trivial judgement of value’ and ‘absolute
or ethical judgement of value’. The former is usually mere statement of facts
while the later is usually nonsensical or consists of analogies, similes and allegories.
Religion and Ethics usually end up using the second kind of language.
Wittgenstein says that the second type hardly adds to our knowledge. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika 6 :When
we say a particular translation or a way of translating is good or bad we must
ask <i>good for what</i> or to what purpose.
A translator and translation critic should ask what is the purpose of the
translation and what is its use.</span></div>
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<b><span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Sutra
7: Strategies and Techniques<o:p></o:p></span></b></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;">Karika 7: The question ‘how to translate ?’ can be
answered by asking ‘ Why to translate?’<o:p></o:p></span><br />
<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><br /></span>
<span lang="EN-IN" style="font-family: "cambria" , "serif"; font-size: large;"><i style="font-family: "Times New Roman"; font-size: medium; text-align: left; text-indent: 48px;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 16.8667px;"> <a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">Read my blog on using Semiotics of Culture as a Theoretical Framework</a> for studying Indian literatures and cultures.</span></span></i></span></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com2Vadodara, Gujarat, India22.3073095 73.1810975999999322.072277 72.858374099999935 22.542341999999998 73.503821099999925tag:blogger.com,1999:blog-4531765274219955373.post-25102929182440427222013-02-06T12:00:00.000+05:302013-02-06T12:00:44.747+05:30Double Crossing Two Traditions: On Skin, Spam and Other Fake Encounters<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-IN" style="font-size: 12.0pt;">One never knows
where a poem may end up. The poems in <i>S<a href="http://www.bookganga.com/eBooks/Book/5024222126205374351.htm" target="_blank">kin,Spam and Other Fake encounters, </a></i>(Poetrywala, Mumbai 2012), began in
Marathi, an eight hundred years old language of the western India with millions
of speakers. Now they are also illegal
immigrants into English. However, these outlying Anglicized cousins of the
Marathi poems display no symptoms of guilt.<o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-M66YAsJuehA/URH3yKgxBuI/AAAAAAAAEWI/z7dWwXBWP20/s1600/skin+spam+cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-M66YAsJuehA/URH3yKgxBuI/AAAAAAAAEWI/z7dWwXBWP20/s400/skin+spam+cover.jpg" width="224" /></a></div>
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<span lang="EN-IN" style="font-size: 12.0pt;">The poems
attempt to confront innovatively the new cultural material of the globalized
Third World society I inhabit. The cultural
politics and traditions within which they are located in Marathi are obviously
very different from the cultural politics and traditions in which they are
placed after translation. During the late nineteen fifties and sixties, the
little magazine movement in Maharashtra gathered momentum out of a need for
alternative poetics and politics. They were often avant-garde and were closely
associated with the leftist, the feminist, the Dalit, the <i>grameen,</i>
nativist politics and activism. The entire thrust of these movements was to
decolonize, democratize and debrahmanize literary values. The movement gave
Marathi the poets like Arun Kolatkar, Dilip Chitre, and Namdeo Dhasal. The
movements lost force during the late seventies and the eighties due to altered
social structures and values. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-IN" style="font-size: 12.0pt;">The little
magazine movements resurfaced during the nineteen nineties, largely in response
to the powerful forces of globalization rapidly altering the social and
cultural landscape after the collapse of the Soviet Union and the opening up of
the Indian economy. The digital revolution, explosion in newer forms of media
and outburst of cable television played a decisive role in altering the ‘semiosphere’
we occupy. These new little magazines
acknowledged the importance and influence of the precursor movements, but
insisted on moving on. The little magazines like <i>Abhidhanantar, Shabdavedh</i>
and <i>Sausthav</i> in the nineties provided a platform for fresh poetic practice
along with critical voices which demanded a new conceptual framework for
studying this poetry. This, however, does not mean that the older dogmas of the
sixties have completely given way to the newer ways of writing and conceptualizing
literature. The resistance to the new and the emergent has stubbornly persisted,
but it has not succeeded in blocking new creativity. Seen in this context, my Marathi poetry
contains both residual and emergent cultural material, used and abused for
poetic purpose. The selection presented here is from my Marathi collections, ‘<i>Bhintishivaichya Khidkitun Dokavtana</i>’ (2004) and <i>Jarsandhachya Blogvarche
Kahi Ansh (</i>2010). I am a Maharashtrian born and educated in Gujarat.
English was the medium of instruction and Gujarati was the medium of social
interaction. Marathi was largely confined to domestic conversation. Hence, one
can say that my poems have emerged from the liminal in-between cultural spaces.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-IN" style="font-size: 12.0pt;">Marathi poetry
like mine, influenced by the international modernist poetics, is marginal in
the mainstream of Marathi poetry which is socialist realist, if it is not
sentimental and popular. On the other hand, the status of Indian poetry in
English translation is secondary compared to Indian poetry written in
English. It is from these double
marginal spaces that I double cross both the traditions. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-IN" style="font-size: 12.0pt;">The
translations appeared in New Quest, India.poetryinternationalweb.com,
cerebrations.org and Museindia.com. I wish to thank all the publishers of my
Marathi originals and the English translations. I specially want to thank
Hemant Divate, editor of Abhidhanantar and the publisher of this volume. I wish
to thank my colleagues Dr Deeptha Achar, Dr. Susan Bhatt and Dr. Aarati
Mujumdar for going through my poems with a critical eye and making invaluable
suggestions.</span></div>
</div>
Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0tag:blogger.com,1999:blog-4531765274219955373.post-91591893002306152092012-10-05T12:27:00.003+05:302012-10-05T12:27:38.150+05:30Synaptic Narratives and Half-Bodied Women: Poetics and Practice of Vilas Sarang’s avant-garde fiction <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 12pt; line-height: 150%; text-align: justify;"> </span><span style="font-size: 12pt; line-height: 150%; text-align: justify;">‘Literary creation is preeminently a
synaptic activity’, declares <a href="http://en.wikipedia.org/wiki/Vilas_Sarang" target="_blank">Vilas Sarang</a> one of the most exciting and
neglected writers and critics of the post Independence India in his essay
‘Synaptic Narrative’. </span></div>
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<a href="http://4.bp.blogspot.com/-IchMZthPJbk/UG6DDEthPbI/AAAAAAAAEUA/FoX7CbiMST4/s1600/sarang+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-IchMZthPJbk/UG6DDEthPbI/AAAAAAAAEUA/FoX7CbiMST4/s1600/sarang+2.jpg" /></a></div>
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<span style="font-size: 12pt; line-height: 150%; text-align: justify;">Vilas Sarang (1942- ) is known for his disturbing
nightmarish short stories in <i>The Women in
the Cages</i> (2006), <i>The Boat People</i>
and the novels like <i>The Dinosaur Ship</i>,
<i>Rudra</i>, <i>Tandoor Cinders</i> (2008), and <i>The
Dhamma Man</i> (2011).</span><span style="line-height: 150%; text-align: justify;"> </span><span style="font-size: 12pt; line-height: 150%; text-align: justify;">He
has written remarkable short stories, poems, a novel and also brilliant pieces
of criticism in Marathi and English. Conventionally his sensibility is closer
to the modernist canon comprising of Kafka, Beckett and Joyce. His Marathi
short story collections are <i>Soledad</i>
(1975) and <i>Atank</i> (1999) and
translations of his stories in English are collected in the above-mentioned
collections. His Marathi collection of poems is published under the title <i>Kavita 1969-1984</i> (1986) and his
collections of English poems are <i>A Kind
of Silence</i> (1978) and<i> Another Life</i>
(2010). However, he is also someone who has reflected and theorized
consistently about literature, especially fiction and translation. His
collection of criticism in English is a self-published book <i>Seven Critical Essays</i>. He has also
written significant criticism in Marathi <i>Sisyphus
ani Belakka</i>, <i>Aksharanchya Shrama Kela</i>(2000)
<i>Manhole Madhla Manus(2008),</i> ,<i>Sarjanshodh ani Lihita Lekhak (2007),
Vangmaiyeen Sauskruti Va Samajik Vastav (2011)</i>.He has also published <i>The Stylistics of Literary Translation</i> (
1988 ) which is also translated in Marathi as <i>Bhashantar ani Bhasha</i> (2011) and edited the anthology <i>Indian English Poetry Since 1950</i> (
1989). He has also edited reputed literary journals like the Bombay Review and
The Post-Post Review.</span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">Elaborating on what the term
‘synaptic’ means, Sarang explains that the term is borrowed from physiology. It
describes ‘synapse’ as a place where nerve-cells join and an impulse is
transmitted from one cell to another. In Sarang’s narratology, ‘synapses’ is
about narrative transitions, logical connections and the devices of narrative
continuity. It is what linguists would call the ‘coherence’ or semantic or
logical unity - as against ‘cohesion’ or ‘verbal unity’ of the text. Sarang
wants to develop a theory and a method of ‘irrelevancy’ and ‘discontinuity’ in
fictional narrative, which has unexplained narrative transitions and which help
to create a deliberate effect of abruptness. Sarang adds that he does not want
to focus on this type of calculated effect but ‘downright disregard for
narrative continuity’.<o:p></o:p></span></div>
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<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 150%;">Questioning E.M. Forster’s
formulation of a story as ‘the king died and the queen died’ and the plot as
‘the king died and the queen died of grief’, Sarang asks, ‘this happened…then
that happened....’ Okay, but who said it has to have logical progression?” Why
not something like, ‘the king died and the prince ran away with the court
jester?”. The point is, says Sarang, between “the king died “and the next byte
of information, there is a chink that you can take advantage of. The degree of
linkage -including its near absence- may be set according to one’s artistic
choice. Forster’s emphasis on causality and logic was fine in 1927, Sarang
points out, but today in the age of uncertainty, it tends to dampen the spirit
of “synaptic adventurousness”. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">According to Sarang, because of this
powerful constraint of writing continuous, coherent fiction, the writer has no
time to go in the search of the opposite impulse, that of discontinuity which a
poet is free to explore. This has resulted prose fiction lagging behind in
terms of form, as compared to poetry. Vilas Sarang notes, “By daring to set up
narrative tensions synaptically, prose fiction can expect to generate
unexpected possibilities of meaning, and go on to ever more complexities and
richness. An adventurous exploratory spirit is built into this approach, for
one always dares falling over the precipice of meaninglessness.”<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">Sarang notes that while the
experimentation of discontinuous form is common in the modernist poetry, like
that of TS Eliot, discontinuous progression is not so common in fiction. He
argues that fiction, especially longer fiction, always runs the risk of
becoming predictable due to the demands of intelligibility, of unity and
continuity. These demands, Sarang notes, are largely due to commercial reasons.
Poetry, on the other hand, is not as much enslaved to market place and hence
has more freedom to experiment with discontinuity and ‘irrelevancies’. Sarang
also points out that the devices of allegory, metaphor and symbolism that are
common in poetry are actually ‘synaptic’ devices -linking and joining devices. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 150%;">Sarang believes that though
surrealism and magic realism in the latter half of the twentieth century have
played a salutary role in contributing to “fiction technology” by loosening the
hold of logic and magic-less realism, these techniques have grown predictable
and formulaic in their own right. Sarang talks about the dramatic advances in
animation techniques in cinema as exemplified in the films like <i>Antz</i> and <i>Shrek</i>. These films can make anything seem ‘real’ and blur the
distinction between virtuality and reality. ‘Magic realism’ looks less
‘magical’ today, as the magic seems to be fading. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 150%;">Best illustration of what Sarang
means by ‘synaptic narratives’ would be his own practice as fiction
writer. An excellent example of ‘synaptic
use’ of myth can be found in his story “The Odour of Immortality”. In this
story, Champa a Nepali sex worker in Kamathipura dreams of freedom from her
oppressive state by making quick money and returning to Nepal. The madam of her
house demands fifty thousand rupees for her freedom and so Champa starts taking
in more customers than most of other girls. Having heard of the myth of Indra
who was cursed with thousands of vaginas on his body, she fantasizes about
having ten vaginas all over her body so that she would be able to take ten
customers at a time and make money faster. She remembers the supernatural
powers of the tantric Mahant Satyendra who can actually help her fulfill her
desire for having ten vaginas. The Mahant uses his powers and Champa develops
vaginas on her body. Champa becomes a great hit in the market, and other madams
and pimps become jealous of her success. They inflict black magic on her so
that anyone who has sex with Champa immediately becomes impotent. Her business
suffers and she is crestfallen. In a synaptic leap, Sarang introduces strange
twist in the tale. One day a beggar comes to her and demands sexual favours.
Out of pity and because of his good looks, Champa allows him to have sex with
her. However, she realizes that the beggar is none other than Lord Indra in
disguise. She falls at his feet and tells him that she has been cursed that
anyone who has sex with her will become impotent. Indra says that was precisely
the reason why he wanted to copulate with her, as he had grown sick and tired
of his lust and ill repute as a fornicating god. In return, Indra blesses her
that all the vaginas on her body will turn into eyes as they did once on his
body. When her body develops thousand
eyes, the sight of her eyes dazzled people.
Champa dies of AIDS in the end and her picture is worshipped in Navratri
in Kamathipura. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">Sarang’s use of myth as can be seen
in “The Odour of Immortality” is by no means a “shaping device” but a tool to
generate new mythological forms. Sarang seems to be using myths to create new
mythology of his own. The most famous example of Sarang’s use of myth as a
synaptic device is his story “Interview with Mr. Chakko”. The story is
imaginary account of an interview with a sailor named Chakko who is shipwrecked
and marooned on an unknown island of Lorzan. The mythical/synaptic aspect of
this island is that women on the island had only half bodies-either upper half
or the lower half, while men had whole bodies. The protagonist, Mr. Chakko
first marries a woman with lower half of body “who only knew how to open her
legs”. Later as he feels that he needs someone to talk to, he exchanges her for
a woman who only has upper half of human body. The story recounts bizarre
details of Chakko’s life on Lorzan. One ‘synaptic’ incident is when his fellow
mate Vaiko desires to go the island of Amuraha where men are half bodied and
women are full bodied. When Vaiko reaches Amuraha he is torn apart from waist
by hysterical hordes of women. In the
end when Chakko manages to flee the island after decades and return home, he
marries a ‘full bodied’ woman named Lakshmi
In a gruesome ‘synaptic’ twist to the tale, Chakko gets hold of an axe
and cuts Lakshmi into two pieces as he is too used to half bodied women. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">The story is open to multiple
interpretations. The author, however, puts an endnote to the story recalling
Freud’s statement that there is something “in the nature of sexual instinct,
which is unfavourable to the realization of complete satisfaction.” Wendy
Doniger (1999, 215-216) looks at this piece as a satire, a tongue in cheek
allusion to the myths of splitting and doubling of women in Greek and Hindu
mythology. The axe-wielding Chakko obliquely alludes to axe wielding Parshurama
who on the orders of his father beheaded his mother only to have him revive
her. Sarang however is more interested in creating a new mythical narrative,
rather than using myth to impose order on the “immense panorama of futility and
anarchy which is contemporary history”.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">When Jean Francois Lyotard in his
‘Answering the Question: What is Postmodernism’ states, ‘A work can become
modern only if it is first postmodern’, he is accentuating the import of the
avant-garde tendency of certain postmodern art, which is radically experimental
and irreverent towards the established rules of art. This irreverence towards
traditional and established norms makes the modernist work possible in the
first place. One can also consider Sarang as a true postmodern Indian writer in
English. Taking a cue from Lyotard’s theorization of the term postmodernism as
nonconformist writing i.e. the writing that does not play to the gallery of the
market, media or academia and argue that
the post -eighties postcolonial novel in Indian writing in English as
popularized by Rushdie, Ghosh, Jhumpa Lahiri or Vikram Seth is not really
‘postmodern’, it is possible to argue that more marginal and experimental
writers like Vilas Sarang who have courage to write against the grain of market
pressures and academic outlook can be thought more profitably as ‘ postmodern’.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">It seems that poetry, rather than
fiction, was first to articulate modernist sensibility in India. When we come
to ‘Indian Fiction in English’, however, we find entirely different story. Vilas
Sarang (1989:4) points out modernity was available to the Indian English poet
readymade that and modernism came to some Indian languages much earlier. The
same can be said about postmodernism in Indian writing in English.
Interestingly there is no counterpart to modernist fiction in the west in
Indian writing in English. The great absence of the fiction inspired by Kafka,
Camus, Joyce, Faulkner, and Hemingway was filled up the fiction inspired by
Marquez, Kundera and Grass. We started imitating the postmodern movement in
fiction without imitating modernism in English. This shows that Indian Writing
in English, though it pretends to be radical is actually extremely conformist,
derivative and usually falling prey to fashions. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">Unlike postmodernism in the West,
which grew out reaction against establishment of modernism, postmodernism in
Indian writing came out of desire to conform to the postmodernist movement in
the west and especially the Latin American Magic Realism boom of the sixties
and seventies. Influence of Marquez, Grass, and Kundera on Rushdie is
unmistakable. However, Rushdiean School of fiction was obsessesed with the
postcolonial themes of migrancy, allegories of nationhood and experience of
Diasporas. As I resist the tendency to
conflate modernity and colonialism, I also tend to protest the tendency to
conflate postmodernism with postcolonialism. The postcolonial novel, which came
as postmodern novel after Rushdieian revolution in the early eighties has today
become a cliché, dogma and conformity with Ghoshes and Kiran Desai’s still
playing the <i>raag</i> postcolonial in
their latest works. It conforms to the International market forces and caters
not only to the western audience but it also caters to the tastes of
postcolonial academicians armed with postcolonial theorization of the exile and
the migrancy finds these convenient to discuss.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">The genuine postmodern spirit,
according to me, is non-conformist in Lyotardian sense. It resists the
overwhelming forces of market, academia and established modes of writing and I
find that the Great Indian Postcolonial novel is not really postmodern in its
spirit. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;">The writer which I would like to term
as postmodern are not the ones obsessed with postcolonial run-of-the mill
themes of allegories of nation, colonial experience, diaspora, migrancy etc but
are non-conformist and radical in their attitudes. Vilas Sarang is severely neglected because of
his radical and non-conformist mode of writing which combines grotesque imagery
and extremely unsettling themes. Yet one of the reasons for his neglect is that
he writes in a neglected form of short story.
Novel, as Sarang himself argues (2006: 283), is a ‘prisoner of the
market place’ and short story is truly a Guerrilla form. Any theorization about
postmodernism in Indian fiction will have to address the inequality among
fictional genres. The novel remains the big boss and the other modes of
fictional narration like short story or fables and this I think is because
novel is more market friendly commodity.
Sarang is avowedly anti-representational modernist in his aesthetics and
provides a refreshing alternative to over-hyped ‘diaspora' and ‘exiled'
non-resident Indian English writers like Salman Rushdie, VS Naipaul and Kiran
Desai.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;"><br /></span></div>
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<span style="font-size: 12.0pt; line-height: 150%;"><a href="http://www.scribd.com/doc/30737716/khel-vilas-sarang-visheshanka" target="_blank">Read Vilas Sarang Special Issue of Khel in Marathi by clicking here.</a></span></div>
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REFERENCES</div>
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Vilas Sarang. <i>The Women in the Cages: Collected Stories</i>, New Delhi: Penguin
Books, 2006<o:p></o:p></div>
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_________ <i>The
Boat People: Stories of the Dispossessed & The Caste-Out</i>, Mumbai: Bodhi
Tree Books, 2006<o:p></o:p></div>
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__________<i>Seven Critical Essays</i>, Self Published,
Publication details NA</div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-1699387108206169872012-09-04T11:20:00.002+05:302012-09-04T11:20:38.211+05:30My Relationship with Money and the Three Laws of Performance<div dir="ltr" style="text-align: left;" trbidi="on">
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I don’t find it surprising that I have not written a single blog entry discussing my finances or issues relating to my income until now. What follows now is not a philosophy or s theory of people’s relationship with money or not even my personal philosophy of money. Here I am sharing my own relationship with money, the contexts through which I looked at money and how I transformed these contexts to generate new possibilities in the area of money using Steve Zaffron and Dave Logan’s <i><a href="http://www.threelaws.com/" target="_blank">Three Laws of Performance.</a></i> Read <a href="http://sachinketkar.blogspot.in/2010/11/transforming-our-performance-review-of.html" target="_blank">my review of the book by clicking here</a>.</div>
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No, I did not have any severe ‘problems’ regarding my income. As a university teacher working on a granted post, I have probably one of the most secure and one of the highest paying jobs in the country. However, I still put off buying that new PC or more expensive model of the car or buying a bigger house. At the end of the month, I still have a feeling that I could have saved more than I have and invested this saving. Very often, I do not save at all, apart from what the deduction of General Provident Fund from my salary. I am also worried about my future. What if the Government decides to discontinue paying what it is paying now in future if it goes broke? I am also worried about my habits of spending fearing what if my family and I have these habits but I won’t be earning as much as I do? What if something happens to me? Whatever little I have invested, I have invested- not surprisingly- in insurance. Besides, financial transactions occur to me as very boring and mundane. Therefore, I keep procrastinating going to banks or paying my insurance premiums. I try to take interest in stock markets, buy books, but later abandon my interest in these things. I still leave bigger financial transactions like buying and selling house to my dad. I also feel a bit guilty about my lack of interest in these things and my ignorance regarding these things. What was my ‘Default Future’? In The Three Laws of Performance, the default future is the future, which was not inevitable, but that which is probable and almost certain to happen unless something dramatic and unexpected came along. I would continue doing and being the same thing for long time to come in the future- I would be remaining worried, trying to adjust my needs according to my salary, struggling to save, remain fearful about being at the ‘mercy’ of the state and so on. </div>
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Zaffron and Logan’s Three Laws of Performance provide a powerful technology for transforming the area where we feel challenged. It does not offer ‘strategies’ or ‘tips’ or even theories for boosting performance. It lays down laws, which govern our performance, and getting these laws provides an access for transforming our performance. The first law of performance is “People’s actions are correlated to how situations occur to them.” Our actions are correlated, not to the facts and reality of the situation, but to how this reality and facts occurs to us. The perception that everyone is relating to the same set of facts of the situation is what the authors of the book call ‘reality illusion’. </div>
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So my fixed ways of beings (being detached, being scared, being bored and irritated, being weak and small, being irresponsible, being casual etc) and my ineffective actions (putting off buying things that I want, procrastinating financial transactions, struggling to save, not taking authentic interest in financial matters, inconsistent interest in the stock-market, etc.) are perfectly matched, in Zaffron and Logan’s words “in dance with” how the situation occurs to me. </div>
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So how does the situation occur to me? Well, financial matters occur as ‘peripheral’ to my life, the inflow and the outflow of money in my life occurs as if it “happening on its own”. I am “forcing myself to take interest in the matters which occur as “mundane and tedious”, because I “have to”. I am struggling to ‘save’ money because I ‘have to’ in case the state discontinues paying what it is paying now or something happens to me. The situation occurs to me as ‘insecure’. I occur to myself as being at ‘mercy’ of the government and university authorities. </div>
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The second law of performance says, “How situation occur to people arises in language”. How situation occurs to us arises in our conversations and verbalizing about the situation. These conversations usually comprise of the use of ‘descriptive use of language’. They are mostly made up of our ‘interpretations and stories of what happened in the past’, decisions about future, which we took in the past, our ‘already always’ internal dialogue consisting mainly of our opinions, evaluations and judgments, and our persistent complaints. We do not ‘have’ these conversations, we ARE these conversations. They form the colored spectacles through which our perception of reality and facts is filtered. We cannot see these conversations, we can only see through them. These conversations are most of the time “‘unsaid and communicated without awareness”. These past-based conversations are the hidden and default contexts –our blind spots- in which situations occur to us. </div>
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So what were my past-based hidden and default contexts in which my relationship with money showed up? “Thinking all the time about money and running after money is bad” ( I am making those who are financially better wrong), “One should always be content with what one gets ( one is content usually during the first fortnight after the salary day ;) ) ”, “ Financial matters are ‘none of my business’?”, “ I am at the mercy of the government and authorities”, the transactions are ‘mundane and tedious” , “ I am dumb and not capable of minding my own finances”, “I am small and don’t deserve what I am getting ( earning around a lakh rupees a month for teaching Keats and Derrida? What are my students going to do with that?) , “I am a steno-typist’s son and I haven’t done all that badly (I making my dad small! I shared all this with him; by the way)”, “Business is not in our blood (as a Maharashtrian Brahmin blah blah blah) and so on were my conversational contexts. I was a “clearing” a space for scarcity and insecurity. My life was the life of adjustment and compromise. The default context on my financial life was the context of ‘surviving and fixing/changing”. Not that it was ‘wrong or bad’, but it was definitely disempowering very often. There was hardly sense of power, freedom, self-expression and peace of mind inside this context. </div>
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After I uncovered all these interpretations, stories, complaints and opinions and distinguished them from facts and reality, extraordinary things started opening up. The third law of performance says, “Future-based language transforms the way a situation occurs to people”. The future-based language is the language of creating a future rather than living into the ‘already written/default future”. It is the language of declaration, promises and commitments. </div>
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Earlier, I was not taking responsibility for the inflow and the outflow of money, I was not seeing myself as causing it, but after I put these conversations aside, I invented a possibility of being at the source, and being the cause in the matter of my financial life and not at its effect. In fact, I could see that whatever financial life I was living was because of conversational contexts, which I had created.</div>
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Money is MY business now. I have invented the possibility of being confident and courageous. I can relate to my expenses as not something “wrong” to be reduced or to be fixed but as what they are as expenses. Instead of relating to the people who are wealthier than me as being basically’ corrupt and dishonest and hence to be kept a safe distance from’, I can relate to them as who they are – as possibilities. Instead of seeing money as ‘given and fixed number’, an inflexible box inside which I have to accommodate my needs, I see flow of money as something to be caused and created. I have also invented the possibility of being enthusiastic and interested in finance. Hence, I am looking for various ways in which I can now cause and create money. Landmark Education Advanced Course says you win whatever game you play. I was playing the game of survival, fixing and changing and winning at it, now I am playing the game of creation and possibility. The games begin with a declaration ‘X is more important than Y’ (scoring more runs or goals is important than scoring less runs or goals). So the declaration I am making in the matters of finance is “the game of creation and possibility” is far more thrilling and enjoyable than the game of survival and fixing. Zaffron and Logan talk about our lives as three act plays, where the first act is our past, the second act is our present and the third act is our future. However, they point out our first act has already written and shaped our third act, as we have put decisions and interpretations made in the past not into our past but into our future we are living into. Using Three Laws of Performance I am rewriting my third act. </div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0tag:blogger.com,1999:blog-4531765274219955373.post-43375403694345686512012-07-02T00:09:00.002+05:302021-03-22T16:11:50.222+05:30WHY TRANSLATION STUDIES?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; font-size: 12pt;">I
will be teaching translation studies to the postgraduate students of English
this year and the question I asked myself was- why should an Indian student of
literature study translation? The answers I came up with are as follows: We
study translation because</span></div>
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<span style="font-size: 12pt;">1)<i> Translation makes literary studies possible
today.</i> Translation is the most widespread mode of accessing the key
literary and theoretical texts from all over the world. Foucault, Neruda,
Camus, Plato, Aristotle, Tagore, Marquez, Kafka, Simone de Beauvoir, Bhamaha,
Anandvardhana, Roland Barthes, Ghalib, Nietzsche, Saratchandra, Freud, Rumi, Marx,
Habermas, Mahasweta Devi, Kalidas and Gramsci are available to the students <i>only in and because of translation.</i> Looking
at these texts as translation can help dispel the illusion (or pretense) of an unmediated,
transparent and unproblematic transmission of such texts across cultures and
time. Hence, even if students do not take translation studies as their primary
area of research, studying translation will provide an additional critical
handle on the research projects and provide useful insights into research involving
translated texts.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">2)
For the student of English in India, <i>reading
is translating.</i> Reading of literary texts from other cultures like English
or American for instance is an intercultural and inter-contextual process. An
Indian teenager who has never been to a Prom or not experienced the lifestyle
of a typical American teenager does not read or watch <i>Twilight</i> saga in the same way as an American teenager does. An
Indian youngster who dances for nine nights during Navaratri celebrating ‘Divine
Feminine’ reads Dan Brown’s <i>Da Vinci Code</i>
differently from his Western counterpart. An Indian student who has no idea
what ‘curtsey’ is, reads <i>Pride and
Prejudice</i> in a different way from her British counterpart. Serious study of
literature and art is impossible without taking into account the differences between
the source culture’s system of values and attitudes that produced these texts
and the recipient culture’s system of values, which shape the reader’s outlook
towards life. Oh, yes, the vampires-Pishachas- belong to a very low caste and are
usually ‘meat eating’ types, so while you might be infatuated with them for a
while, it is difficult for you to get married to one of them.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">3)
<i>We are translated people living in a
translated culture.</i> Much of the cultural phenomenon in which we are
immersed- TV shows, films, fashion, music, cuisine, literature, language, arts
incorporates assimilated elements from other cultures. These processes of
global traffic of cultural forms have become incredibly accelerated in the age
of globalization. TV ‘Reality’ shows,
which have become extremely popular today, use the formats and promotional
strategies similar to those in the US, and a lot of film and popular music is ‘inspired’
and ‘remixed’. These processes are not always unilinear (from the US to non-US)
- consider the great escalation of Hindi films made for ‘overseas’ audience (Robertson
calls this process ‘glocalization’). The idioms of languages that we speak
today and hear today in media often sound ‘translated’, and hybrid. This ‘code
remixing’ is central to our cultural lives today. The <i>Shastras</i> say that we are what we eat. Therefore, if we eat Chinese
in the evening and continental pizzas during the day, our souls are invariably
going to be hybrid. Literary translation is part of the larger processes of ‘remixing’
and hybridization of cultures. Hence studying the poetics and politics of translation
will help us to understand these numerous processes and modalities of
intercultural traffic. Globalization is translation and translation is
globalization.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">4)
<i>Translation as a profession and vocation
is an excellent career option.</i> While reading Keats or Yeats or studying
Judith Butler or Dalit literature may not help you to earn your bread and
butter unless you decide to become a professor or teacher, the study of
translation theory and practice can help you become proficient in translation. When
the Government of India considers Humanities and Higher Education as ‘burden’
instead of investment and reduces the granted vacancies, there are very few
chances of permanent and secure employment. On the other hand, there is a
rising demand for good quality translators and interpreters. You can study foreign languages and start your
own business. You can also work in the areas like film or TV industry where
dubbing is essential or in the areas like legal and corporate communication. Besides,
there is exciting work being done in the field of machine /computer translation
and artificial translation.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">5)
<i>You can be a literary translator.</i>
Like me. You can make literary texts from one language available in another language.
It may not pay like technical translators. However, it is a creative act. It is
an art that is at par with ‘original’ creative activity in terms of fulfillment,
and in fact, more challenging and times more exciting the ‘original’ writing. It
reinforces and enhances your own creativity. I remember how when I was doing my
BA in the nineties, some of the passages in <i>Macbeth</i>
moved me so much that I translated them into Hindi. As a poet who wrote in
English and Marathi, and who is born and brought up in Gujarat and teaching
English literature, my choice to translate
Narsinh Mehta into English for my doctoral research in the late nineties was the part of my personal
quest for cultural identity. It was expression of my love for Gujarati language
and literature. Narsinh has made me spiritually richer and happier human being,
if not ‘better’ and he has become one of my closest friends. When I chose to thirty
Marathi poets of my generation into English, it was again a manifestation of my
own personal quest for my roots as a Marathi poet. Translation for me is the
act of love. The fulfillment and joy of rendering my favorite work into another
language is the act of sharing my life and passion with others. At the same time, when you make literature in
other language available for readers, you are in your own way contributing to
that culture by extending the possibilities of the target language and culture.
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<span style="font-size: 12pt;">People
who complain of the ‘loss’ in translation or its impossibility usually have a
very limited view of the process. These people are usually people who can read
both translation and the original, and translations are not intended for such
people. For someone who cannot read Hindi, any translation, however bad, of
Kabir or Muktibodh is always a gain, because no translation is ‘complete’ any
more than the so-called ‘original’ is complete. Jorge Luis Borges said that the
original should be faithful to translation, and I agree.<o:p></o:p></span><br />
<span style="font-size: 12pt;"><br />Watch my lecture on contemporary translation studies with Dr. Vishal Bhadani</span></div><div class="MsoNoSpacing" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9y4xKTalPrI" width="320" youtube-src-id="9y4xKTalPrI"></iframe></div><br /><span style="font-size: 12pt;"><br /></span>
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<span style="font-size: 12pt;"><i style="font-size: medium; text-align: left; text-indent: 48px;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 11pt; line-height: 16.8667px;"> <a href="http://sachinketkar.blogspot.in/2017/01/on-theorizing-indian-literatures-and.html" target="_blank">Read my blog on using Semiotics of Culture as a Theoretical Framework</a> for studying Indian literatures and cultures.</span></span></i></span></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com4tag:blogger.com,1999:blog-4531765274219955373.post-26858887725639543642012-05-31T23:30:00.000+05:302012-05-31T23:30:33.277+05:30Unpalatable Truths on the Entertainment Platter: Satyameva Jayate<div dir="ltr" style="text-align: left;" trbidi="on">
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The popularity of the recently started TV show ' <a href="http://satyamevjayate.in/" target="_blank">Satyameva Jayate</a>' is surprisingly on the rise. Surprising, because it speaks of some of the most unpalatable truths of Indian society like female foeticide, child abuse,dowry system, and corruption in health care sector, and these are the things which traditionally belong to more or less 'sarkari',or non sarkari NGOs or academic platforms, and not on the celebrity-page 3 and entertainment formats. Nor is the great Indian middle class which devours saas-bahu soaps and crappy reality shows famous for displaying genuine concern to tackle the real social issues. It is embarrassed by the reality of Indian society and prefers to skip the discussion of these things. Aamir Khan's accomplishment lies precisely in bringing up on the hugely obese TV entertainment space, the one obsessed with titillation and sensation, those things which belong to the other genres and platforms which have been traditionally considered 'serious' and non-popular. He achieved something similar in his hugely popular films like 'Tare Zameen Par' and ' Three Idiots'. A very significant strength of the program, in my view, lies in Aamir not playing the usual blame games but asking us to responsibility for the systemic evils and asking people to take action.</div>
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Obviously, many people are critical of this ' celebrity/filmy activism'. Some people claim that Aamir is simply making money and becoming famous by talking about serious social issues and there by trivializing them. However, I dont think Aamir is in such a bad need either for money or for fame. When celebrities like Amitabh Bachchan are busy hosting 'Kaun Banega Crorepatis', and Shah Rukh Khan is getting attention by brawling with cricket ground security guards , I think Aamir's work is outstanding. Celebrities can do wonders when it comes to contributing to society, and I think this is Aamir's way of doing it. Most of the skepticism seems to stem from Aamir's celebrity status and the entertainment genre of the program, which actually is unjustified. Nor do I think he is ' trivializing' or 'diluting' issues. In fact the one about female foeticide was a real shocker.Not that I did not know about it, but I was largely unaware of its magnitude and growth. Like many of the viewers I used to think this was practice was more prevalent in rural areas and in more conservative states of the country and I was also unaware of the scale ,and I was really alarmed by its rampant growth. The episode on malpractices in health care sector was straight and eyeopening. </div>
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Some people, especially academic-minded ones, were critical of the discussion on gender without referring to social categories of caste, class or region. This criticism is definitely valid, but if you consider the format of the show and the audience of the show, a nuanced sociological analysis would actually take away its edge. The caste-class political configurations are extremely region specific and would make little sense on the national TV.</div>
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Some people, especially the activists, wonder if all this is 'real activism', after all they are the 'real' activists-don't they have a reason to be insecure when an upstart film-star, one time ' chocolate hero', starts doing there things and by being a hugely popular celebrity, taking all the attention and limelight? Well, they may not like it, but then who cares, this is contemporary activism. It has moved away from socialist jholawala cynicism of the eighties and become more 'fashionable' , but what is more important contemporary activism is unimaginable without media, especially TV and social networking . The platforms which it has to invariably use - digital technology or corporatised media TV etc has dubious relationship with the evil it seeks to combat - capitalism in various guises. Having Reliance Foundation as 'philanthropy partner' for program on social evils is bound to raise eyes brows. Or is it very Indian? Gandhi had his ' philanthropy partners' like the Birlas too !!</div>
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For me, however, the real question is what will its impact be. Will it be another ' Anna Hazare'-type hot air balloon which hardly achieved any concrete results? Will it impact the nation of youngsters and teenagers? Will it impact the entertainment addicts solely interested in saas bahu soaps? When many of the middle class Indians who feel that these things do not happen to them, and they are 'out there', such programs may be useful in hinting that you and your family may be the next victim and hence it is high time you did something about it. And I am also waiting for the one on corruption and mafia-ization of education system. Let's wait for Rancho baba to give his gyaan....</div>
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</div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-92151855562351274392012-04-04T19:03:00.017+05:302020-12-15T14:30:04.025+05:30A BEGINNER’S GUIDE TO DOING A PhD IN ENGLISH LITERATURE<div dir="ltr" style="text-align: left;" trbidi="on">
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There is a sudden rise in the number of PhD aspirants in these parts of the country. This may be because many universities in Gujarat and elsewhere offering the PhD Entrance Test (TET) in a quick succession. It may also be due to the UGC resolution that those who have completed their PhD following 2009 norms will be exempt from National Eligibility Test (NET) for lecturer-ship, and probably also due to the new Academic Performance Index being introduced by the UGC in the sixth pay commission. However, not many are clear about what research in literary studies means, or why they are doing it in the first place.These dreadful questions may haunt them later in many forms if they jump on the bandwagon hastily.</div>
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This lack of clarity shows up in the stock responses to the question ‘why do you want to do PhD./doctoral research?’. The typical responses range from ‘ I want to develop myself further/ increase my knowledge’ or ‘ For intellectual pleasure’ to ‘ for a better job/salary/ status’. Though all these reasons are valid, it should be kept in mind that doing doctoral research is not the only way of fulfilling on these objectives. One could read widely, or clear the N.E.T., or get rich by starting one’s own business or by becoming a religious preacher, for instance. So why should one do doctoral or Mphil research at all? An answer to this question lies in knowing what doctoral or Mphil research is.</div>
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So what <i>is</i> doctoral or M.Phil research after all? Well, the obvious answer is that it is a program that trains you to become a systematic and disciplined researcher: it builds the foundation to the later research actitivity. Hence the real reason why should do Mphil or PhD is that you want to be researcher for the rest of your life, and the doctoral research program is the opportunity to equip and train yourself to become a serious researcher. It is a net practice and coaching program if you want to graduate from gully-cricket to international cricket. <a href="http://sachinketkar.blogspot.in/search/label/research" target="_blank">(Click here to read my other entries on research).</a> </div>
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Research is commonly perceived as as purposive and systematic search for information and knowledge about something. Even the hunt for a date on the Internet can be an example of research. However, research as we understand it academically is not primarily a search for answers to the personal questions. The whole idea of ‘objectivity’ in research does not imply that you are ‘ impersonal’ but what you are investigating and exploring has value beyond one’s personal quest for answers. Hunting for a date for yourself may also be research, but gathering information about pretty girls in your surrounding locality has relevance to more than one person and hence of greater social value.</div>
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So what is research, especially in literary studies, after all? In very ordinary language, research is a contribution to a particular domain of knowledge. By contribution, I mean addition to what we already know about the particular area. If I want to write one more thesis on ‘Postcolonialism in Amitav Ghosh’ ‘ Spirituality in Sri Aurobindo’ or ‘ Feminism in Shashi Deshpande’, I am not really adding to what scholars already know about these things. Research which provides knowledge which is obvious and already known is of little use to anyone. Reinventing the wheel may earn you a degree (very often in our universities we keep doing that) but that would not prove that you have done research.</div>
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By ‘particular domain’ I imply an area of research which is sufficiently specific and sufficiently narrow enough to be ‘ do-able’ within time and space of the thesis. Yet it should not be so narrow that the generalization we make would be nullified. 'Postcolonial consciousness in Indian Writing in English' would be too vast an area, and probably an analysis of a single novel by Salman Rushdie would be too narrow for making valuable generalizations about either Salman Rushdie or Indian writing in English.<br />
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Learning how to develop an argument is a crucial research skill-after all, the term 'thesis' means 'a position.' It is very important to understand the logical movements from specific and particular to generalized knowledge or theoretical knowledge ( inductive approach) and from generalization ( theoretical) to particular and specific ( deductive approach) in your exploration. You may start with a general understanding of the area and form a hypothesis which can be verified by analysis of specific texts or patterns or else you may start with particular observations about the patterns in the texts/ authors and then generalize and theorize them. Which approach is suitable for your purpose depends on your research question. If you want to examine ‘ Representations of Masculinity in the post-independence Indian novels in English’, you may start with the hypothesis that the representation of masculinity in the post-Independence Indian novels in English differs significantly from the representation of masculinity in the pre-Independence Indian novels in English, and that this shift occurs because of historical reasons. The logical movement of your argument would largely be deductive. ‘Archetypal Patterns in the Post-nineties Indian Poetry in English by women’ may start with an analysis of patterns in various Indian women poets in English writing in the nineties and then may move on to theoretical generalizations in an inductive fashion. Though usually it is a combination of both logical processes, one process is often primary.</div>
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The key to successful research lies in asking a valuable research question, an important question which is not often asked or not sufficiently explored regarding the area of research. ‘The Elements of Grotesque in Sri Aurobindo’s Poetry’ or ‘ Folk motifs in Shashi Deshpande Short Fiction’ would be yield knowledge that is not very common and hence, interesting. ‘Surrealism in <a href="http://ketkar.blogspot.com/2008/06/third-way-of-reading-kolatkar-beyond.html" target="_blank">Arun Kolatkar</a>’s poetry’ is an obvious observation, the research, however, begins when you want to understand why surrealism is found in his works, how does he deploy surrealistic devices, what does it do in the particular cultural context and what is its significance.</div>
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One of the most important questions of writing a research paper or thesis is the question of language of research. What is the appropriate ‘register’ for the language of research? What is the place of technical and theoretical vocabulary in the language of research? What about the jargon? The answer becomes clear when we understand that a research thesis is a serious dialogue or a conversation between two experts and scholars, and not between two M.A. students or even between a postgraduate student and the examiner, or even worse, between a teacher and a student. In your research paper or thesis, an expert speaks with an expert. Hence the language has to be technical ( remember two lawyers discussing law in the court or doctors discussing a disease or treatment?). This does not mean that you should use the technical terminology to show-off your learning ( pedantry) or obscure you own ignorance (cheating). Bad research today often suffers either from naivete ( as if a teacher talking to her student) or from the other extremity- pedantry, obscurantism and masking of ignorance ( brahminism).<br />
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When we understand that in research writing, an expert is talking to another expert, we can also cut down and structure our thesis in a better way. What is already well-known is usually not elaborately discussed, and is often reduced to minimum. So the things like biographical details, details of various works or well known facts and information occupies minimum space.<br />
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This brings us to yet another important and problematic question: what is the place of ‘theory’ in the period which is ‘post-theory’. Theory as we know is not vaseline or Tiger Balm to be ‘ applied’. Theoretical approaches ( Psychoanalytical, Marxist, structuralist, postcolonialist, Feminist,subaltern, LGBTs, <a href="http://resistancetotheory.blogspot.in/search/label/poststructuralism" target="_blank">poststructuralist</a>s etc etc) are perspectives, points of views, ways of looking and conceiving the object of our research. <a href="http://resistancetotheory.blogspot.in/" target="_blank">( Click here to read my blog on various theoretical approaches) </a>Today, we know what ‘IS’ our object of research ( what we once knew as ‘literature’ in our good very old days) has become more and more problematic and contested, and what is literature often depends on how we look at it. ‘What’ we see is very often a function of ‘How’ we see it, and so it is not as simple as there is preexisting ‘literature’ “ out there” and we use theoretical frameworks as aspects to see it. You cannot imagine literature existing independently of a conceptual frame, and when you claim that you are not using any theory, it is very likely that some theory <i>already is using you</i>. Today, if you are honest, you have to be self-conscious of which the theory is using you, and you are using which theory, and you should have an awareness of advantages and limitations of your own conceptual frames ( those which are using you and those you are using). Literary research today has to be autocritical.</div>
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Besides, I have also often heard complaints that too much criticism and theory is spoil sport and it takes away ‘fun’ from reading literature. You don’t need to ‘study’ literature in order to have fun and enjoyment. You may enjoy watching flowers, but you don’t become botanist in order to enjoy flowers. You may get pleasure and enjoy studying plants, but you need not produce a body of knowledge about plants to enjoy viewing them or tending them. You need not be an expert in evolutionary biology to enjoy playing with your cat. The same thing applies to the study of literature. When you ‘study’ literature, you are engaging with a vast body of knowledge about literature. That it provides a distinctive type of intellectual pleasure may be a bonus, but it is more likely to produce lot of pain in some unmentionable parts of your body. You HAVE to go beyond your personal likes and tastes , and you HAVE to read plenty of difficult theoretical writings, if you want to be a serious researcher. Reading <a href="http://resistancetotheory.blogspot.in/2010/08/meet-my-talkative-unconscious-notes-on.html" target="_blank">Lacan</a>, Judith Butler or Spivak is not an enjoyable pastime, but then research in literature is not a pastime. </div>
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I want to end this longish entry by recommending two very useful books for the beginners here: i) Research Methods for English Studies by Gabrielle by Gabriele Griffin and ii) Literary Theory: A Very Short Introduction by Jonathan Culler. Critical comments, suggestions and feedback on my blog entries are welcome.<br />
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Useful Links ( click on them):<br />
i) <a href="https://sachinketkar.blogspot.com/2015/06/choosing-topic-for-research-project-in.html" target="_blank">Choosing a Topic for the Research Project in English Studies: Some Tip</a>s<br />
ii) <a href="https://sachinketkar.blogspot.com/2014/08/writing-research-proposal-for-english.html" target="_blank">Writing a Research Proposal for English Studies: Some Hints</a></div><div style="text-align: justify;">iii) <a href="https://sachinketkar.blogspot.com/2018/07/possible-areas-for-doctoral-research-in.html" target="_blank">Possible areas of research in English studies in India</a>.<br />
iv) <a href="http://sachinketkar.blogspot.in/2011/07/complayt-comp-lit-or-complete-or-what.html" target="_blank">Comparative Literary Studies</a><br />v) <a href="http://sachinketkar.blogspot.in/2014/04/translation-studies-in-india-brief.html" target="_blank">Translation Studies in India: A Brief Overview</a></div>
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vi) <a href="http://resistancetotheory.blogspot.in/" target="_blank">My blog on various theoretical approaches to the study of literature</a></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com62Vadodara, Gujarat, India22.3073095 73.181097622.189787 73.0231691 22.424832 73.3390261tag:blogger.com,1999:blog-4531765274219955373.post-83068171231802154312012-01-31T16:16:00.001+05:302012-01-31T16:16:17.188+05:30How Did I Become a Researcher? An Autobiographical Aside<div dir="ltr" style="text-align: left;" trbidi="on">
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When I look at my life as a researcher and how I ended up in the world of academic research, I can't help being surprised.I never saw myself as excelling in academics. I thought I was an average student whose percentage hovered around sixty most of the times. Had someone told me when I was doing my graduation that I would end up writing a PhD dissertation or research papers and hopping from one national conference to another international conference, I wouldn't have believed it. Nor would I have believed it if someone were to tell me that I would be teaching obscure literary theory and criticism to postgraduate classes and writing books on translation theory. In short, I never dreamed of being a research scholar or university teacher. </div>
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What I dreamed of when I was a kid was to be a terrific cricketer. I used to play lots of gully cricket with a tennis ball or a rubber ball in my friend Tejas's cemented compound. However, I was scared of fast deliveries and used to get out very early most of the times. As a bowler, I am credited for giving away a couple of million runs and as a fielder I might have given away billions of runs. I ran slower than others, thanks to my weight, ill-health and probably, knock-knees. The more I failed more I fantasized of becoming a cricketer. I thought I will never be good enough for physical sports.</div>
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In my early teens, the eighties, I decided that the only way to overcome my failures as cricket was to have lots of knowledge about the game. I started keeping a diary and hoarding plenty of information about the game from magazines like ' Sports-star' and the newspapers -there was no Google in those days, friends- in Valsad library. I even learned how to bowl a googly from a book. I made a decision that the only way to excel in performance in a game was to acquire lots of knowledge about it. Knowledge acquisition became a habit, a habit that was formed in response to my perceived failure to be a sportsman. The habit consolidated when the asthma became more and more chronic. By the time I was in my twelfth standard I discovered that even if I jogged for two hundred meters, I would not only be out of breath, but my lungs would hurt very badly too.</div>
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When I was in my teens, I had a series of one-sided crushes started with a one sided love for a girl in my school-bus in the seventh standard. I found myself on the wrong side of these ' one sided' travails. I said to myself that I am timid and can never express my feelings and emotions to the girl I loved and that I was a failure in love. When I fell in love at the age of thirteen, I did not know there was something like love and had I really gathered courage and spoke to the girl, I don't know what I would have said! I said to myself, I don't know what happens to me when I fall ill, I don't know what happens to me in such situations- <i>I must try to understand what's wrong with me. </i></div>
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And I tried to cope with or overcome my sense of failures with the drive for knowledge acquisition. I tried to 'understand' what was wrong with me and how could I fix it.I read voraciously on occultism in my twenties and thought that if I could have occult powers, I would be able to overcome all failures of my life. I read on Yoga and occultism and tried to actually practice it. I thought the best way to overcome the sense of failure and the idea that I was weak was to acquire more and more knowledge. What I actually gathered was a tremendous amount of absolutely useless information like what was the colour of <i>agna-chakra</i> or what is a chinaman or how is the Petrarchan sonnet different from the English sonnet-or how Derridian 'differance' undoes the architecture of western thought.The drive for knowledge acquisition became my habitual way of being. It has played a role in whatever success I have got till now, but even then, it was constituted to survive and fix what I thought was 'wrong' with me, and so more I went about gathering knowledge, more unfulfilled I was. It was a habitual way of being put in place to compensate for lack of power and effectiveness in my life and the more I practiced it the more powerless and ineffective I felt in life. So whenever, I perceive something is wrong, I bring out this habitual mode of being to deal with it- I try to 'understand', 'analyze' and 'research' that problem instead of taking actual actions needed to deal with it.</div>
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So here it goes-I selected ' Translation of Narsinh Mehta's Poetry into English: With a Critical Appreciation' in order to' fix' what was wrong with my cultural identity- I saw myself as a 'rootless' person- having no real language or land of his own- a Maharashtrian born and brought up in Gujarat and teaching English literature to students who are neither interested in English nor in literature. I thought translation was a strategy to overcome my own cultural predicament and overcome my cultural alienation. I thought writing poetry in Marathi would help me overcome this estrangement. Obviously, neither of the strategies worked.</div>
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This habitual mode of being that is more or less productive and that has given us some results in life is called a 'strong suit' in the language of Landmark Education. The strong suits are past-based and work in the default context of human life: survive and fix something seen as wrong or shouldn't be.It is our personal 'best practice' but it is incapable of giving us 'breakthrough' results in life where we are struck- had it been so capable it would have created breakthrough results by now. </div>
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In fact, the strong-suits often result in misery. This drive for knowledge acquisition isolates me from friends and people in life who don't have such drives, I am estranged from them and I end up living in the world of loneliness and suffering.What actually was coming between me and my wife was my intellectual arrogance. It often has a negative influence on my performance. The Landmark Education points out how 'knowledge' doesn't necessarily lead to action- that there is no ' cause-effect' relation between knowledge and action ( Hamlet taught us something like this - but then Hamlet was all about 'literature' for a student of literature). Steve Zaffron and Dave Logan in <i>The Three Laws of Performance </i>point out that the real source of our action is how situations or people 'occur' to us. Knowing how to control anger or fear or how to reduce weight does not necessarily lead us to taking actions- when the situation '<i>occurs' infuriating</i> we <i>are</i> angry -no matter what formulas we have memorized or what knowledge of anger we have.</div>
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So how does one become a researcher? </div>
</div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com3tag:blogger.com,1999:blog-4531765274219955373.post-46508347086462838402012-01-22T14:25:00.000+05:302012-01-22T14:25:00.293+05:30On Being a Researcher: A counter-intuitive observation<div dir="ltr" style="text-align: left;" trbidi="on">
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Most of the discussion of research seems to focus entirely on research methodology, or theory of research. However, the question of 'how to be a researcher' has hardly received any attention, probably because of the assumption that 'knowing how to do research effectively' will automatically lead to 'being an effective researcher'. Though this assumption looks logical enough, in actual practice the knowledge of 'how to do' research' hardly seems to lead automatically to ' how to be a researcher'. The crucial distinction which seems to be missing in the most of such discussions is the one between 'being someone' and 'knowing how to do something', that is 'being' is distinct from ' knowing' or 'having'. For instance, 'knowing about scientific method or having scientific knowledge' as being distinct from ' being a scientist', or 'knowing how to cook' being distinct from 'being a cook', or even 'knowing how to raise children' is distinct from 'being a parent'. Similarly, 'being a manager' is distinct from ' knowledge of how to manage'. </div>
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If one asks 'WHO is a scientist?' or 'WHO is a doctor?', we realize that the scientist is not just a person who knows 'how to do' science, and the doctor is not just a person who 'knows' medical science, though it is just a part of who he is. A scientist is not just a scientist when he is in the laboratory or a seminar hall or library, a scientist is a scientist even when he is playing with his children, and a doctor is a doctor even when he is with his girlfriend. Entire life seems to show up as laboratory, seminar hall or library for someone who IS a scientist. The scientist IS a scientist not when he HAS scientific outlook but the scientist IS a scientist when the scientific outlook <i>HAS HIM</i>.<i> </i>A scientist is not 'somebody who USES scientific method, the scientist is the person who is USED BY scientific method. Hence, while we think that being a scientist or a parent is all about knowing 'how to do science' or how to parent' well, it seems that it is 'being a scientist or a parent' leads to 'knowing how to' do these things.</div>
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Therefore, it seems that the researcher is not a person who <i>'uses'</i> research methodology, but someone who is <i>used by </i>research methodology<i>.</i> A literary theorist is not someone who 'uses theoretical terminology' but someone who is <i>used by</i> theoretical terminology. One is a critical theorist not when one 'knows how to to think critically', but <i>someone who is used by critical thinking</i>. A researcher is not someone who 'has research skills' but <i>someone whom research skills have</i>. You become a researcher not when you 'learn how to do research' but when t<i>he research starts having you</i>, and you no longer use 'research methodology' but <i>research methodology starts using you. </i>The research or scientific outlook becomes the context of the researcher's life and the whole life shows up inside this context.The activity of research and writing dissertation, thesis or research report , then, becomes a natural expression of who the researcher is, much in the same fashion as a poem is a natural expression of who the poet is or parenting is a natural expression of who the parent is. </div>
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The above observations are counter-intuitive and out-of-the-box, but I think they will definitely be useful to people who want to 'do research'. I owe these insights to the profound ontological technology developed by Werner Erhard, one of the greatest and unacknowledged educationists of our times. Indeed, such insights start showing up when the ontological technology made available by Landmark Education start <i>using you.</i></div>
</div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0Vadodara, Gujarat, India22.3073095 73.181097622.189787 73.0231691 22.424832 73.3390261tag:blogger.com,1999:blog-4531765274219955373.post-71108319615953138442011-09-15T20:18:00.000+05:302011-09-15T20:18:07.017+05:30Confessions of a Middle-Bencher: My Life in St. Joseph E.T. High School<div dir="ltr" style="text-align: left;" trbidi="on">
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Even today I dream ( quite literally) of entering <a href="http://stjoseph-valsad.com/Default.aspx">St. Joseph High school</a> building on a monsoon day. I still dream of being admitted to the school and studying in the class. I can clearly see Maniar madam, our English teacher, threaten us with her 'high' English if did not behave. I see late Mr. Prajapati, our Math teacher, holding his own left shirt collar with his right hand and zealously teach us Math. " Is this the way we are going to study ?", he asks me angrily and flings my notebook on my face. He had curious way of using ' we' for you. He was a tall , dark and stern man who sent shivers through the spines of many. His zeal for Math bordered on fanaticism and whatever minuscule math I have in me, is because of this man. He was not ' nice'. He was a brilliant teacher. He proved that you don't have to be 'nice' and 'friendly' to be an excellent teacher. I still see Mr. Khurshid Pathan, our then Physics teacher demanding the I complete my Physics experiment journals. My palms still sweat at the thought. Mr. Pathan, in total contrast to Mr. Prajapati was nice and friendly, and very popular with girls. I still see <a href="http://kavyakunj.com/index.html">Mr. Gupta</a>, our jolly roly-poly Hindi teacher ( who I discovered today is also a poet and astrologer) getting stuck on the descriptions of food in Hindi lessons and struggling to leave them behind. He got struck at the description of baked potatoes in Premchand's 'Kafan'.<br />
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I can still remember Mathew Kotnani, my friend, tell me with excitement that one of my sarcastic poems have appeared in the local youth section of the Indian Express. This was my first publication. After that I became a public nuisance, and with the advent of the internet and blogging in the twenty first century, I became a global infliction.<br />
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I can still see the chloroformed frog meant for dissection in the Biology lab regain consciousness and jump on the screaming girls. Today, I suspect, one of the pretty girls from our class must have kissed it and it must have turned into 'fully awake' frog instead of a prince. Women, those eternal optimists, seem to keep on kissing frogs for a long time in their life, and by the time they realize that the frogs will be frogs forever, they have their own tadpoles to nurture. Talking of princes, I also recall one of my classmates whose surname was Champaneri, who often used to come to the school on horseback!</div>
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I joined St. Joseph English Teaching High School, Valsad, in 1988, for my eleventh and twelfth standard because I did not have a choice and it seems, St. Joseph's admitted me because they did not have much choice either. I studied in Bai Avabai High School for most of my life and there was no English medium eleventh and twelfth standard for science stream in Bai Avabai school and St. Joseph's was the only school which had this facility in those days. St. Joseph's was the only 'convent' school in our area in those days. My sister had studied there till her tenth standard and it was located at a stone's throw from our residence. The principal Sister Clara Fernandes in St. Joseph was not very happy at the idea of allowing 'desi', ill-mannered ruffians from Avabai to run freely in the more disciplined and elite school. I remember her giving a very stern piece of mind to the entire classroom for bad behaviour, and her focus was on certain girls who talked 'inappropriately' with the boys. Till I entered the 'convent' I associated 'Sisters' with people who either tied rakhi on your hand or jabbed a syringe into you. I was an awkward outsider who even did not know how to tie a tie. </div>
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I was a committed middle-bencher. Unlike backbenchers and front benchers, I lived in the grey no-man's land of 'averageness', both in terms of intelligence as well as in terms of capacity for naughtiness. I was in the same place as far as looks were concerned and I marveled at my friend Abhay Thosar's wicked coolness at his being one of the handsomest and smartest kid in the class. He hardly got carried away by girls doting on him. Many of my friends from Avabai were there: Chinmay and Hoshedar for instance. I made new friends with Abhay, Sanat, Rajesh Jainval, Vivekand Pandey, Amit Purohit and Mathew Kotnani for instance. One of the good things about St. Joseph's was that unlike my one year at Kendriya Vidyalaya, Ordnance Factory, Chandrapur, I was not bullied or humiliated.<br />
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This was the period when asthma became more chronic, and started to pervade my life. I remember this was the period, when on insistence of one Shri Prabhuji, a family friend and a local holy man, I started doing all sorts of trick to get rid of asthma. He suggested that I wake up very early in the morning, study for the twelfth standard with my friend Chetan Patel, go for jogging, or go cycling to Tithal Sai Mandir some five to six kilometers from my house, do ' alni' fasts or salt-free meal days , count beads chanting Gayatri mantra, chant Hanuman chalisa, water basil plant or go to Shiva temple on Mondays. Obviously, all this did not work. I remember sitting on the veranda in the afternoons on the days when I could not attend schools due to asthma attack and watching students of St. Joseph, especially the girls, return home.<br />
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People expected me to do well in the exams. I scored fifty-odd percent. Baba believed that a person who knows a bit of English and knows stenography will never die of hunger and there was no point in doing B.Sc and work in a factory in Vapi as a chemist from eight in morning to six in the evening. On his suggestion, I took up B.A with English course from Valsad. People were shocked. Arts was seen as the lowest rung of the educational Varnashrama with medicine and engineering at the top. I never even dreamed of doing doctorate and teach in one of the best universities in India. The middle-bencher was basically a day dreamer, and not a dreamer. He sat in the ambivalent middle of the spectrum, and doodled away cartoon characters in his rough work book. He is not difficult to find, just look around you.<br />
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<b><i>( St. Joseph English Teaching High School, Valsad, is celebrating its Diamond Jubilee in December this year)</i></b></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-60588219537686315772011-07-30T14:36:00.004+05:302011-07-31T19:53:15.592+05:30On Caste-Based Reservation in Education<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">As hype around Prakash Jha's forthcoming film 'Aarakshan' grows, we can expect the media to raise its pitch regarding the system of caste-based reservation in education. Here are my views on the controversial subject.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Historically, due to caste system, the access to knowledge in India was restricted to very low percentage of population . So technically, <i>we have always had the system</i> since centuries,only that it worked in primarily favour of the " upper castes". What is the Gurukul system but a system of reservation where only the top three 'Varnas' were allowed to enter( I suspect it was even more exclusive: I havent heard the stories of the Vaishyas being included in the Gurukuls, nor was it open to women- barring over hyped exceptions of course). I am often irritated when people talk about reviving this system as a remedy to the depraved 'Macaulayian' education system. These people forget that if Macaulaying model was not implemented ninety percent of the society would still be living in the dark ages. Nor is the Gurukul system of any use when the nature of knowledge, its processes of production and distribution have altered completely. The Gurukul system may have been of some use when the knowledge was largely produced and transmitted orally. Today, knowledge is produced in research and analysis departments and laboratories,preserved, processed and transmitted by machines on immensely large scale. How can you teach applied physics or mechanics in a Gurukul? Hence, I feel most of the talk of revival of the Gurukuls is a waste of time. </span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">When the system of reservation was turned up side down after the Independence, there was hue and cry regarding merit from people who have been enjoying the privileges since centuries. Had Eklavyas been 'admitted' on the bases of 'merit' instead of "only upper caste" system of reservation functioning at Dronacharya Gurukuls,we would not have needed the reservation system today.</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Caste system is, in essence, " reservation system" which goes back five thousand years on the subcontinent. Reservation applies to who can or cannot be 'touched', who can marry whom, who can eat with whom, who will do which work, who is 'pure' and who is 'impure'. Basically who is 'superior' and who is 'inferior' and all this is decided by birth- no amount of financial or social mobility can erase your 'distinction'. Unlike 'race' where biological markers play a prominent role ( though not always) caste has no biological markers- a brahmin can be dark skinned and a shudra can be fair and yet brahmin remains 'superior' to others.<o:p></o:p></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">There are still plenty of cases where children of poor illiterate parents enter educational system and allowing them to compete with students whose parents and grandparents and great grandparents have had the benefits of " upper caste only" system of reservation in India functioning since centuries is simply callous and hypocritical. Reservation in theory is about providing level playing field, though in practice it has not worked very effectively like most of well intentioned schemes in India.Just because something is not being implemented effectively does not mean it should be scrapped. If this were the case we should scrap the traffic rules also.<o:p></o:p></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Reservation is not about being condescending and obliging. It is about giving equal opportunity which all citizens of India deserve. If the thesis is bad than no amount of pestering should be permitted to get it through just because of the caste of the researcher, reservation does not mean breaking the rules, it is about following them. </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">People who raise hue and cry about reservation dont realize that reservation is given at the level of 'admission' and it is <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">not gracing</i></b> to pass. An ST or SC might get 'admission' but he/she has to work equally hard as others to pass and if he/she does he is as good as or as bad as others...<o:p></o:p></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">In a fundamentally unfair society, there is a 'choice' between injustice at the individual level ( an upper caste student who gets high percentage and does not get admission due to reservation) and injustice at collective level- entire community being denied 'admission' for centuries. Not that I like this predicament myself, but I prefer doing injustice to a minority of individual than doing injustice to entire communities.<o:p></o:p></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">It so happens that the most of the people who have access to technology and are articulate against the system of reservation are the people who have belonged to communities which benefited from the 'unofficial' and 'informal' system of reservation and hence they are heard the most on the media ( TV and the Net)...but I do know some people who belonged to the so-called backward castes and have rejected reservation....<o:p></o:p></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><o:p><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">( Views expressed on the Facebook community called Netrutva: Teachers for Transformation and Leadership)</span></o:p></div></div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com3tag:blogger.com,1999:blog-4531765274219955373.post-5525446523844388342011-07-02T10:37:00.002+05:302021-03-22T16:07:59.729+05:30'Complayt, Comp. Lit or Complete' Or 'What the *#$% is Comparative Literature and Why are They Saying such Awe(Ful/some) Things About It?<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-lLQ67uslvrg/Tg6e4raWWeI/AAAAAAAACOY/VwgP_Jzz5O8/s1600/derrida_jacques-19831027074R_2.gif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-lLQ67uslvrg/Tg6e4raWWeI/AAAAAAAACOY/VwgP_Jzz5O8/s320/derrida_jacques-19831027074R_2.gif" width="271" /></a></div>The word 'complayt' is a colloquial Gujarati word which signifies perfection and completeness of the job done or to be done as in 'kaam complayt'. The word, of course, is borrowed from English. I noticed the pun on 'Comp. Lit' and 'complete' ( in the sense of being finished), in the sly word-play of Jacques Derrida in his lectures delivered at Yale University in 1979-80 published as ' Who or What Is Compared? The Concept of Comparative Literature and the Theoretical Problems of Translation' in the Winter and Spring 2008 Issue of Discourse (translated by Eric Prenowitz). Derrida astutely points out the hackneyed and facile binary of' 'life' and 'death' seems to haunt the theoretical discussions on comparative literature. This was well two-and-half decade before Derrida's translator and postcolonial theorist Gayatri Spivak declared <i>Death of the Discipline</i> in 2004 and Susan Bassnett's contention that the emerging discipline of translation studies will eclipse comparative literature. Haun Saussy report on the health of the discipline in America in 2006 declares,"Comparative literature has, in a sense, won its battles. It has never been received in the American university ". Reports of the death or rebirth or renewal of the discipline are rather tedious, as is the agonized navel gazing regarding its own methodology. The skepticism regarding its foundations is as old as the discipline itself. Derrida's critique is aimed at the universalist- imperialist ambitions of comparative literature as manifested in its 'encyclopediac' nature, which he compares with the figure of Prof. Pangloss, an optimistic scholar, in Voltaire's <i>Candide.</i><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-6k84bCMlETc/Tg6WzbzAg8I/AAAAAAAACOI/fgR96WLYPDI/s1600/renewelek" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-6k84bCMlETc/Tg6WzbzAg8I/AAAAAAAACOI/fgR96WLYPDI/s200/renewelek" width="160" /></a></div>The earliest attempts to establish 'Comp.Lit' were often met with dismissive hostility. Rene Wellek cites Lane Cooper of Cornell University who said that Comparative Literature was<span class="Apple-style-span"> a “bogus term” that “makes neither sense nor syntax.” “You might as well permit yourself to say ‘comparative potatoes’ or ‘comparative husks.’” Croce in 1903 saw it as a non-subject and the efforts to establish it as a separate discipline were futile. Croce saw it as methodology which was part of the effort to arrive at complete explanation of a literary work in the context of the 'universal literary history'. If something is a methodology, it cannot be a discipline in its own right. The skepticism regarding the discipline has persisted throughout the period of what Rene Wellek called the 'Crisis' of comparative literature. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-SVHbUl0gip4/Tg6W8pe4y0I/AAAAAAAACOM/ZWi_WOi40LI/s1600/saussy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-SVHbUl0gip4/Tg6W8pe4y0I/AAAAAAAACOM/ZWi_WOi40LI/s1600/saussy.jpg" /></a></div><span class="Apple-style-span">Personally, I don't think 'Comparative Literature' is either a distinct discipline or a distinct methodology. It is rather <i><b>an alternative </b></i></span><i><b>conception</b></i><span class="Apple-style-span"><i><b> of literature</b></i>. Instead of the mono-literary studies which see a single literature as something organic, static and </span><span class="Apple-style-span">autonomous, 'comparative literature'</span><span class="Apple-style-span"> conceives literature as essentially </span><span class="Apple-style-span">heterogeneous</span><span class="Apple-style-span">, dynamic and open ended cultural phenomenon, which can be understood only in the context of a complex network of historical relationships which cut across cultures, languages, places, periods and even media. Though comparative literature may be struggling to find itself as a distinct discipline, this alternative conception of literature has gained wide acceptance in serious literary research, thanks to the explosion of 'Theory' in the later half of the twentieth century. It is is in this sense, that Saussy feels that comparative literature has won its battles. Saussy feels that comparative literature is selfless, meaing that it has no unique or distinct identity as well as in the sense of its generosity. It doesn't, for instance, demand a small tax from English literature departments, every time they quote Spitzer, Auererbach, Wellek, Spivak or de Man. This discipline, Saussy thinks, is an 'anonymous universal doner' to mono-literary studies.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-tq7_1XbT7a0/Tg6XE3Hf5qI/AAAAAAAACOQ/nAvjrnpHT6g/s1600/sujit+mukherjee.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-tq7_1XbT7a0/Tg6XE3Hf5qI/AAAAAAAACOQ/nAvjrnpHT6g/s200/sujit+mukherjee.jpg" width="172" /></a></div><span class="Apple-style-span">In the Indian context, scholars like Sisir Kumar Das, Amiya Dev, Chandra Mohan, GN Devy , Sujit Mukherjee and Avadhesh Kumar Singh have tireless promoted 'Comp. Lit' as the only true way of studying Indian literature in a multillingual and multi cultural context such as ours. I believe this is the only way you study </span><b><u><i>ANY</i></u> </b><span class="Apple-style-span">literature, not just 'Indian Literature', meaningfully in our country. Even when the Birje-Patils and V.Y. Kantaks of the yore wrote about Shakespeare, they were reading Shakespeare as Indians- they couldn't possible read him as native speakers. Consciously or unconsciously, they were already practicing comparative literature. When we 'teach' Jane Austen to the undergrads, we are actually doing comparative literature. How else can the things 'coming out' or 'curtsy' in Jane Austen make any sense to the Indians? Is not teaching of literature in India, an inherently comparative practice?</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-FqdGP3pjoYk/Tg6dhsJ_y_I/AAAAAAAACOU/pbMZ8PesdBs/s1600/Durisin_D.GIF" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-FqdGP3pjoYk/Tg6dhsJ_y_I/AAAAAAAACOU/pbMZ8PesdBs/s200/Durisin_D.GIF" width="139" /></a></div><span class="Apple-style-span">This year, when we at the Department of English of the Maharaja Sayajirao University of Baroda are introducing comparative literature as a core paper at the post graduate level for the first time, you-know- who will be the instructor. Susan Bassnett says that people start in different people but soon find themselves moving towards 'comp.lit' . Though my journey towards 'comp. lit' as a discipline officially began with my doctoral research in translation studies at the beginning of the new millennium, I was already 'doing it' when I was translating excerpts from <i>Macbeth</i> and <i>Savitri </i>during my undergrad years. I was already 'doing it' when I was reading Alfred Hitchcock and the Three Investigators, Sherlock Holmes and <i>Adventures of Tintin </i>as an Indian teenager, from a specific cultural, historical and social<i> location</i>. Though it was unconscious, the location had distinctly shaped my perception and reception of these texts. It was during my doctoral research into translation, where I translated poetry of a great Gujarati poet of the fifteenth century- <a href="http://sachinketkar.webs.com/apps/documents/">Narsinh Mehta into English for my thesis-by-translation</a> that I was 'self-consciously' a comparatistic. I remember Prof. Kimbahune who recommended Dionyz Durisin, a major Slovak comparitist and gifted me a photocopy of Durisin's important book <i>Theory of Literary Comparatistics</i> (1984). Prof Kimbahune believed, and quite rightly so, that the theories of the East European scholars like Durisin are more relevant to the Indian context. Durisin's notions of 'interliterariness' and interliterary processes provide a critical and more useful alternative to the influential positivist French School framework of ' influence studies' based on the 'binary' system.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ZTY3y9wqw78/Tg6fndkNLHI/AAAAAAAACOc/E4izijy0cAo/s1600/susan+bassnett.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-ZTY3y9wqw78/Tg6fndkNLHI/AAAAAAAACOc/E4izijy0cAo/s200/susan+bassnett.jpg" width="132" /></a></div><span class="Apple-style-span">Bassnett believed that translation studies would eclipse comparative literature. I, however, believe that translation studies should eclipse all literary studies in India . After all, I think, we as Indians are essentially translated people,living in a translated culture, eating translated food, wearing translated clothes, watching translated movies, studying translated texts and using translated ideas. Translation studies as a inter-discipline investigating the complex phenomenon and the processes of intercultural transfer and transformation would be one of the most important disciplines in the age of globalization where the global and the local are continuously translating each other at a rapid speed. This rapid and mutual transformation would be resulting in a 'world culture' probably which would neither be fully global nor local and connected by information technology networks and satellite media. Translation studies will be able to tell us how this world culture is shaping up and why.</span><br />
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Consider the case for the word 'complayt' in colloquial Gujarati. It is an example of what JC Catford in his famous <i>A Linguistic Theory of Translation</i> (1965) calls ' transference' , and a form lexical borrowing which though is used in more or less same semantic field but in an entirely different register and context. These are the processes which make our languages. Languages, after all, are our cultures and are who we are. And then they are also who we can be.<br />
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In an era where the mourning for 'death of Indian languages' is quite intense, translation studies will demonstrate how new languages are being born everywhere. These new languages will be our languages of the future. As academicians mourn the death of Marathi or Gujarati or Bengali, newer and newer Marathis and Gujaratis and Bengalis are being born outside the academia. What is translation, after all, but creation of a new language, a language which is neither the 'source/original' nor is it 'target'. As newer and newer languages are born ' between' languages- translation studies will provide us with tools to study contemporary cultures. I don't think the cultural studies will swallow translation studies, I am afraid, it will be the other way round. Translation studies will have to 'complayt' the work started by cultural studies,literary studies and comparative literature.........</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Watch my video on comparative literature as research method</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CVnyzBYmsa0" width="320" youtube-src-id="CVnyzBYmsa0"></iframe></div><br /><div style="text-align: justify;"><br /></div></div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-11133613578088932672011-04-21T18:15:00.001+05:302011-07-30T12:39:27.913+05:30समकालीन मराठी समीक्षा: काही प्रश्न सचिन केतकर<div dir="ltr" style="text-align: left;" trbidi="on">re<br />
<span class="Apple-style-span" style="font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span><b><u>तुमच्या मते</u></b> </span><br />
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<span class="Apple-style-span" style="font-size: large;">१) समीक्षा म्हणजे काय? समीक्षेच प्रयोजन काय व एकंदरीत साहित्य संसकृतीत समीक्षेचे कार्य काय?</span><br />
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<span class="Apple-style-span" style="font-size: large;">२) स्वातंत्रोतर काळातली महत्वाची मराठी समीक्षा /समीक्षक/ ग्रंथ/लेख कोणते? व का?</span><br />
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<span class="Apple-style-span" style="font-size: large;">३) इतर भारतीय भाषेत महत्वाची समीक्षा /समीक्षक/ ग्रंथ/लेख कोणते? का?</span><br />
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<span class="Apple-style-span" style="font-size: large;">४) इंग्रजी सहित जगातल्या इतर भाषेत महत्वाची समीक्षा /समीक्षक/ ग्रंथ/लेख कोणते? का?</span><br />
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<span class="Apple-style-span" style="font-size: large;">५) राजकिय भूमिकेतून लिहीलेली समीक्षा महत्वाची वाटते का?</span><br />
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<span class="Apple-style-span" style="font-size: large;">६) ‘चळवळी’ आणि ‘समीक्षा’ मधल्या नात्या विषयी काय म्हणने आहे?</span><br />
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<span class="Apple-style-span" style="font-size: large;">७) अनियतकालिक चळवळीतून समोर आलेल्या समीक्षेचे काय महत्व?</span><br />
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<span class="Apple-style-span" style="font-size: large;">८) विसाव्या शतकाच्या उत्तरार्धात पुढे आलेल्या पाश्चात्य ‘सैद्धान्तिक’ समीक्षेचे (Theory) </span><br />
<span class="Apple-style-span" style="font-size: large;"> आजच्या मराठी समीक्षेत स्थान काय?</span><br />
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<span class="Apple-style-span" style="font-size: large;">९) जागतिकीकरणाचा आणि समीक्षेचा काय संबंध आहे?</span><br />
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<span class="Apple-style-span" style="font-size: large;">१०) स्वातंत्रोतर मराठी साहित्याच्या (१९४७-२०११) ईतिहासलेखना विषयी काय वाटतं?</span><br />
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<span class="Apple-style-span" style="font-size: large;">११) तुम्हाला समकालीन मराठी कवितेच्या बाबतीत कोणता सैद्धान्तिक अभिगम/ दॄष्टीकोन योग्य वाटतो?</span><br />
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<span class="Apple-style-span" style="font-size: large;">१२) तुमच्या लेखनावर समीक्षेचा/समीक्षकांचा प्रभाव आहे का? कोणत्या?</span><br />
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<span class="Apple-style-span" style="font-size: large;">१३) मराठीत आजच्या पिढीच्या समीक्षेबद्दल काय वाटते? </span><br />
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<span class="Apple-style-span" style="font-size: large;">१४) एकंदरीत मराठी समीक्षेची बलस्थाने व उणीवा कोणत्या वाटतात?</span><br />
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<span class="Apple-style-span" style="font-size: large;">१५) साहित्याच्या भवितव्याचा आणि समीक्षेच्या दर्ज्याचा संबंध आहे काय? आहे तर कोणता/कसा?</span><br />
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<span class="Apple-style-span" style="font-size: large;">ह्या प्रश्नांच्या निवडक उत्तरांना बडोद्याहून लवकरच प्रकाशित होणार्या ’उंट’ ह्या अनियतकालिकात स्थान देण्यात येईल.</span><br />
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<div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;">उत्तर sachinketkar@gmail.com हया पत्यावर किंवा</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;">डॊ. सचिन केतकर, असोसीयट प्रोफ़ेसर इन ईंगलीश, फ़ेकलटी ओफ़ आर्ट्स, द महाराजा सयाजीराव युनिव्हर्सिटी, बदोदे, गुजरात,</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;">३९०००२ ह्या पत्त्यावर पाठवावे.</span></div></div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com1tag:blogger.com,1999:blog-4531765274219955373.post-22879903180952014432011-04-11T09:53:00.002+05:302018-07-22T23:37:51.749+05:30What Did I get Out of Participation in Landmark Worldwide A Quick Look<div dir="ltr" style="text-align: left;" trbidi="on">
Landmark Worldwide is one of the most powerful education and training programs in the world which provides hands on training in producing dramatic results in those areas where we have not been able to produce results (only program of its kind). It empowers and enables you to live life powerfully and live the life you love by making you capable of getting what is important to you and your life. It is designed to cause positive and permanent shifts in various areas of your life.<br />
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I did the Landmark Forum in July 2009 and participated in various courses offered by Landmark Education. I created dramatic and positive shifts in overall quality of life and in particular the following areas:</div>
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<b>Serial No<o:p></o:p></b></div>
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<b>Area of Life<o:p></o:p></b></div>
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<b>Before Landmark Education<o:p></o:p></b></div>
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<b>After Landmark Education<o:p></o:p></b></div>
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<b>Created Possibility <o:p></o:p></b></div>
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1</div>
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<b>Relations<o:p></o:p></b></div>
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<b>Enormous anger</b> especially with mother and wife. I either used to explode and take it out on them or on myself or suppress it. Created depression, loneliness and lack of desire to live. </div>
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Very little anger and can dismantle it without suppressing it.</div>
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Found out the source of my anger in incidents in the past and narratives I held as gospel unquestionable truths about her and learnt to dismantle them.</div>
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<b>Love, Affinity</b> and peace in family. <b>Peace of Mind</b> and happiness. </div>
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2</div>
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<b>Self Esteem<o:p></o:p></b></div>
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<b>Very low self esteem</b> lacked confidence and assertiveness </div>
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Used to blame myself.<br />
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Considered myself a 'team player' rather than as leader.</div>
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Created positive and <b>powerful self image</b>. </div>
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Can relate to myself as a leader.</div>
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<b>Leadership, confidence and courage. Power<o:p></o:p></b></div>
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3</div>
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<b>Work<o:p></o:p></b></div>
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Used <b>unproductive teaching techniques</b> (‘spoon feeding/broadcasting) and kept a distance from students and colleagues. Not effective in dealing with <b>stress</b> and meeting deadlines. Had <b>no vision of my role in society.</b></div>
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Far more effective teaching method (learner-centric and interactive), improved rapport with students.<br />
Effective in dealing with stress and meeting deadlines.<br />
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Have a vision of my role in society of creating a culture of relevant research in this country.<br />
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Took on bigger roles as co-ordinating departmental research projects, state-level training programs and so on</div>
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<b>Effective and powerful</b> in teaching and mentoring. <b>Fulfillment and Job satisfaction</b></div>
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4</div>
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<b>Health and Well being<o:p></o:p></b></div>
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Deteriorating physical and mental health due to chronic asthma.<br />
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Heavy medication for asthma, related illness and depression.</div>
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Enormous improvement in health and well being. <br />
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Reduced medication.</div>
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<b><u>Positive shift</u> </b>in health and well being. </div>
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5</div>
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<b>Communication<o:p></o:p></b></div>
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Ineffective listening skills, though good with ideas and thoughts, unable to express emotions and feelings , not being with the people</div>
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Better listening skills,</div>
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Can listen to people without prejudice. </div>
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Can listen to people’s deepest concerns</div>
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Can express my innermost feelings and thoughts. </div>
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<b>Love and affinity</b>. Positive impact on all areas of life.</div>
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For more information check out their website:<a href="http://www.landmarkworldwide.com/" target="_blank"> Landmark Worldwide</a><br />
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You can look up other reviews i) <a href="https://www.theguardian.com/uk/2003/dec/14/ameliahill.theobserver" target="_blank">The Guardian review </a> ii) <a href="https://www.huffingtonpost.com/luis-moro/the-truth-about-landmark-_b_9981442.html" target="_blank">The Huffington Post review </a>iii) <a href="https://www.quora.com/What-is-the-Landmark-Forum-like-I%E2%80%99ve-heard-it%E2%80%99s-everything-from-a-cult-to-the-most-transformative-experience-ever" target="_blank">Various opinions at Quora</a></div>
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Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0tag:blogger.com,1999:blog-4531765274219955373.post-60039507229666493512011-02-06T11:51:00.001+05:302011-07-30T12:41:58.347+05:30Inventing the Third Nation: A Brief History of Marathi Poetry of Past Hundred Years<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Yesterday, I read my paper titled' Re-imagining the Nation in the Post Global Period:The Case of Post-Nineties Marathi Poetry' at the National Workshop on Literary Historiography organized by the UGC-DRS-I SAP Program and the Department of English, Faculty of Arts, The MS University of Baroda. </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I began my talk by commenting on how academia and intellectuals of this country are obsessed with the desire for mourning for 'dying languages' and cultures and are blind to new languages and cultures being <b>BORN</b> everywhere around them. My talk was about these 'birth' of new languages and cultures. The English which I was using in the seminar hall, I said, was a newly born language and not the older one by the same name which was born on the British isles one thousand years ago. <b>The birth of new languages</b>, like the language of Manya Joshi or Sanjeev Khandekar, is the focus of my talk, I said.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_8N14Ygk6t2s/TU45YxX6WZI/AAAAAAAACJY/uES8yrOP0ig/s1600/400anderson.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="131" src="http://3.bp.blogspot.com/_8N14Ygk6t2s/TU45YxX6WZI/AAAAAAAACJY/uES8yrOP0ig/s200/400anderson.jpg" width="200" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Using <a href="http://www.nationalismproject.org/what/anderson.htm">Benedict Anderson's theorization of nation as an imagined political community</a>, I looked at how the nationhood was constructed in the Marathi poetry of the twentieth and the twenty first century.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I talked about how the invention of modern nation was possible in India in the nineteenth century due to colonial modernity , especially the rise of print-capitalism and colonial education system. This nation, as we know, was an orientalist construct which was elitist, upper caste,Brahminical, and masculine. It was based on the view of culture which was High Textual. This paradigm was radically questioned from within by Jyotiba Phule (1827-1890) and Mahatma Gandhi (1869-1948) in their distinctive ways. <i>The impact of the print capitalism and the western education on Marathi language gave birth to new kind of Marathi which did not exist earlier</i>. <i>The birth of a new nation was actually a birth of a new language.</i></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Marathi poetry of this period, as characterized by the poetry of Keshavsuta (1866-1905)and Balakavi (1890-1918)is reformist, idealist, and influenced by the Anglo American romanticism. The exception to this paradigm was the poetry of Bahinabai Chaoudhary (1807-1882), an illiterate genius whose brilliant works were unavailable to the 'community' as they were orally composed, and hence outside of the print-capitalism of literary culture of the time. </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The second discontinuity in imagining nation was after independence. This 'post-colonial nation' was a critique of the colonial nation. The attempts were made to democratize and open up the colonial nation. This was a 'demotic' re-imagining of the colonial nation which attempted to democratize both modernity and literary culture. The efforts to democratize modernity and literary culture resulted in the rise of 'little magazine movements'. These vision of culture and modernity which these magazines embodied was democratic, pluralist and anti-establishment. </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_8N14Ygk6t2s/TU47E983QkI/AAAAAAAACJc/dmouaAJn4vQ/s1600/3353167010_5a07c7a3e7_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_8N14Ygk6t2s/TU47E983QkI/AAAAAAAACJc/dmouaAJn4vQ/s320/3353167010_5a07c7a3e7_z.jpg" width="203" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The avant-garde poetry of B.S. Mardhekar (1909-1956)is situated at the cusp of these two imaginings of nations and heralds a paradigm shift in Marathi poetry. </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: 16px;">His poems express despair resulting from World War II, growing industrialization, urbanization and erosion of traditional values. They mark a departure from the earlier practice of poetry and opens up possibilities for expression which did not exist earlier. Mardhekar’s attempt to integrate the non-conformist aspects of <i>Bhakti</i> poetics and native traditions with international modernist aesthetics is a significant characteristic of the post-colonial cultural tendencies.</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">From 1955 to 1975, poetry which expressed this dissenting vision of life, culture and nationhood pervaded the little magazines. (Right: Pic of Maradhekar)</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_8N14Ygk6t2s/TU47ovexAtI/AAAAAAAACJg/7_QWCYG2Mfw/s1600/namdeo-street.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="224" src="http://2.bp.blogspot.com/_8N14Ygk6t2s/TU47ovexAtI/AAAAAAAACJg/7_QWCYG2Mfw/s320/namdeo-street.jpg" width="320" /></a></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">The ‘little magazines’ like ‘Shabda’, ‘Vacha’, and ‘Asmitadarsha’ had a distinct anti-Establishment outlook. Complex, experimental and challenging poetry of Arun Kolatkar (1932-2004), Dilip Chitre (1938-2009), Vasant Dahake (1942- ) and Namdeo Dhasal (1949- ) emerged from the movement. Their works bear a distinct influence of the international modernist and postmodernist poetry. The Dalit poetry or ‘the poetry of the oppressed’, influenced by the radically reformist philosophy of Dr. Babasaheb Ambedkar (1891-1956) and Jyotiba Phule (1827-1890), exploded on the scene in the same period. The poets like Dhasal straddled both avant-garde and the Dalit poetics. Feminism also started making its presence felt in this period. Malika Amar Sheikh (1957- ) writes vigorous poetry which combines feminism with other dissenting political ideologies. In the eighties, the tribal poets like Bhujang Meshram (1958-2007) started writing poetry which combined their quest for tribal identity with protest against the exploitative social system and the poets like Arun Kale (1952-2008) continued the tradition of Dalit poetry.</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This alternative way of imagining a nation was also an alternative way of using language and so the language of post-colonial Marathi poetry was more inclusive, demotic and radical. This birth of new languages and new languages of literature is correlated to the birth of the new idea of nation.</span></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">The third shift in the way we imagine ourselves, I argued, takes place in the nineties, largely due to economic reforms, globalization and revolution in media. While the colonial nation was constructed by introduction of print-capitalism, national imagination today is shaped by satellite television ( news, soaps and reality shows), the Internet, cell phone revolution and the overwhelming power of market. The context of post-cold war geopolitics is a significant context to this construction of nation. </div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">This new construction of nation can be theoretically analyzed in multiple ways. For instance, one can fruitfully combine Anderson’s theorization of nation as an imagined community with <a href="http://en.wikipedia.org/wiki/Howard_Rheingold">Howard Rheingold’s</a> theorization of ‘virtual communities’ ( 1991/2000).A virtual community is a social network of individuals who interact through specific media, potentially crossing geographical and political boundaries in order to pursue mutual interests or goals. One of the most pervasive types of virtual community includes social networking services, which consist of various online communities. Following Toffler, one can also think of this new imagining of nation as the ‘Third Wave’ nation.</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">Following Raymond Williams (1977), I think we can in the year 2011 also think of the first construction of the nation as ‘archaic’, the post-colonial nation as ‘residual’ and the third post-nineties ‘nation’ as `emergent’. The critique of this 'global nation' ( an oxymoron)is only possible on globalized platforms. This contradiction- that globalization can be critiqued only on globalized platform-is the crucial aspect of globalization.</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><a href="http://india.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=2682">Marathi poetry of this period</a> reflects this emergent nation in multiple ways. Poetic idiom was transformed in the nineties due to the social and cultural crises caused by these processes of globalization, technological revolution, and economic reforms. New little magazines like ‘Shabadvedh’ (1989-2009), ‘Abhidhanantar’ (1992-2009) played an important role by providing a platform for new voices to emerge.</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><a href="http://www.museindia.com/viewarticle.asp?myr=2005&issid=3&id=78">Saleel Wagh’s</a> satirical poetry mocking at the globalized urban culture and corporate world, <a href="http://india.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=2730">Manya Joshi’s</a> effort to convert the chaos of contemporary metropolitan culture into cacophonic music, <a href="http://www.museindia.com/viewarticle.asp?myr=2008&issid=21&id=1203">Hemant Divate’s</a> asphyxiation of living in a sham urban upper middle class, <a href="http://www.museindia.com/viewarticle.asp?myr=2005&issid=3&id=79">Sanjeev Khandekar’s</a> prosaic caricature of disfigured human self in the world transformed by scientific-technological forces and the forces of global capitalism can be considered as a few representative poets of this period. The Dalit poetry of Arun Kale and Mahendra Bhavre rethink the Dalit politics and poetics in the context of the globalized world. The works of these poets also appear mostly in the new little magazines of this period. </div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_8N14Ygk6t2s/TU49INaTnZI/AAAAAAAACJk/5ea0PK-gnOk/s1600/Picture+051.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="252" src="http://3.bp.blogspot.com/_8N14Ygk6t2s/TU49INaTnZI/AAAAAAAACJk/5ea0PK-gnOk/s320/Picture+051.jpg" width="320" /></a></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">These poets I argued are inventing the language of Marathi poetry because the new Marathis are being born outside the academic world which is simply engaged in mourning the death of Marathi.</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The discussions that followed my presentations were equally interesting. Deeptha asked me if the events like Babri Mosque demolition can be understood within this new idea of nation. I replied that the communalism of the late eighties and the nineties was not the same as the communalism of partition era. Even the Naxal movement of the nineties and first decade of the twenty first century are not same. The altered context is what I was emphasizing. The altered context, I could not respond due to the lack of time, was the rise of 'new capitalism' of the nineties. There were questions about 'heterogeneous times', about multiple time frames inside globalization. I responded by drawing the attention to Raymond Williams' terms I mentioned in the talk. He talks about how the archaic, the residual and the emergent exist simultaneously in a single moment.</span></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><b>WORKS I CITED IN MY TALK:</b></div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">Anderson, Benedict R. O'G. (1991). I<u>magined communities: reflections on the origin and spread of nationalism</u> (Revised and extended. ed.). <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Verso. pp. 224. </div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">Rheingold, H. (2000). <u>The Virtual Community: Homesteading on the Electronic Frontier.</u> <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: MIT Press. </div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">Toffler, Alvin. <u>The Third Wave.</u> Bantam Books, 1981</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;"><br />
</div><div class="MsoNormal" style="font-family: 'Courier New', Courier, monospace; text-align: justify;">Williams, Raymond. <u>Marxism and Literature</u>. <st1:city w:st="on">Oxford</st1:city>: <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename> <st1:placetype w:st="on">University</st1:placetype></st1:place> Press, 1977, pp 121-6<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: 16px;"> </span></div><br />
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</div>Sachin C. Ketkarhttp://www.blogger.com/profile/09429849773311198305noreply@blogger.com0