'Joy of Motherhood' by Buchi Emecheta

 Hello Everyone,

I am Hinaba Sarvaiya, a student of English Department MKBUniversity. This blog is based on African novelist Buchi Emecheta's famous novel 'Joy of Motherhood'. This task was assigned by Yesha ma'am.

About Buchi Emecheta:-

Florence Onyebuchi "Buchi" Emecheta was a Nigerian-born novelist, based in the UK from 1962, who also wrote plays and an autobiography, as well as works for children. She was the author of more than 20 books, including Second Class Citizen (1974), The Bride Price (1976), The Slave Girl (1977) and The Joys of Motherhood (1979). Most of her early novels were published by Allison and Busby, where her editor was Margaret Busby.

About Novel:-

The Joys of Motherhood is a novel written by Buchi Emecheta. It was first published in London, UK, by Allison & Busby in 1979 and was first published in Heinemann's African Writers Series in 1980 and reprinted 1982, 2004, 2008. The basis of the novel is the "necessity for a woman to be fertile, and above all to give birth to son's. It tells the tragic story of Nnu-Ego, daughter of Nwokocha Agbadi and Ona, who had a bad fate with childbearing. This novel explores the life of a Nigerian woman, Nnu Ego. Nnu's life centres on her children and through them, she gains the respect of her community. Traditional tribal values and customs begin to shift with increasing colonial presence and influence, pushing Ego to challenge accepted notions of "mother", "wife", and "woman". Through Nnu Ego's journey, Emecheta forces her readers to consider the dilemmas associated with adopting new ideas and practices against the inclination to cleave to tradition. 

In this novel, Emecheta reveals and celebrates the pleasures derived from fulfilling responsibilities related to family matters in child bearing, mothering, and nurturing activities among women. However, the author additionally highlights how the 'joys of motherhood' also include anxiety, obligation, and pain.

"The most celebrated female character in African creative writing is the African mother." by Marie A. Umeh according to this, is the character of Nnu Ego celebrating motherhood or not? Explain.

This image of the African mother for the most part reflects traditional African societies' mores. African societies highly regard African women for their reproductive ability, and African writers similarly portray African women in roles where they are protecting, comforting and nourishing their children. 

In Buchi Emecheta's novel, The Joys of Motherhood, one witnesses the collapse of these glorifying images of the African Mother. As a literary artist preoccupied with promoting change, author Emecheta, an iconoclast, breaks away from the prevalent portraitures in African writing in which motherhood is honorific. Children do not always maintain strong and loving ties with their mothers throughout adulthood. As Emecheta states in her novel, "the joy of being a mother is the joy of giving all to your children." 

The title of the book, which is taken from Flora Nwapa's novel, Efuru, is then significant and bitterly ironic. Dazzled by ambitious sons educated outside of traditional Igbo values, Nnu Ego breaks down and her old secure world gives way to a new one. Fully conscious of the irony in her life, she says, 

"A woman with many children could face a lonely old age and maybe a miserable death all alone, just like a barren woman" 

Here Emecheta constructs a wholly different set of economic, socio-political and cultural imperatives which diverge from the existing literary models.

Nnu Ego, the protagonist in the novel, is an offspring of Agbadi, a great chief and elephant hunter, and the proud Ona, who remains the great love of Agbadi's life although she refuses to become one of his wives. Because Nnu Ego, the reincarnation of a slave girl who has come back to live her life again, is barren in her first marriage, she is returned to her father's village. The old chief is reluctant to see her marry a second time but he relents and allows Nou Ego to marry Nnaife Owulum, aman she has never seen and does not know. 

Nnaife Owulum lives in Lagos where he is employed as a laundryman in the home of an English family. Upon arriving in Lagos, Nnu Ego is disappointed with her spouse because of his obesity and his servility before Dr. and Mrs.Meers, his employers. In any event, Nnu Ego remains with her husband and bears him nine children of whom seven live: three boys and four girls. 

When she despairs because of a loveless marriage, she draws comfort from the fact that Nnaife is responsible for her seemingly esteemed position as another. Upon the birth of their first son, Oshia, she reflects:

"She was now sure, as she bathed her baby son and cooked for her husband, that her old age would be happy, that when she died there would be somebody left behind to refer to her as 'mother' "

Instead she draws spirited individuals, not without faults. In this book, the mother figure is described in a variety of situations. One witnesses the mother sacrificing herself for her children, fighting with her husband in order to get financial support for the children, protecting her children from their father's wrath, correcting her children and suffering because of their absence, their revolts against traditional customs, their needs. 

Unlike most African male writers who revere their mothers in autobiographies, recalling their mothers' affection, Buchi Emecheta records the troubled and chaotic moments in a mother's life. Apart from the positive aspects of mother-hood, author Emecheta records the turmoil and anguish of women who long for children and of mothers who worry about their children.

Realizing too late that a single woman can be happy even though she has no children, Nnu Ego in death becomes spiritually committed to heightening the consciousness of the African woman. 

Emecheta falls short of being a serious feminist writer in that her main character, Nnu Ego, acquires her raised consciousness to personhood only as the book closes. Although her character Adaku serves as a model of the liberated woman who conducts herself as a "free woman" and provides us with a glimpse of how an African woman conducts herself as a separated mother with two children, we have yet to see a realistic novel which describes a fully liberated heroine who lives an independent life as a respectable human being within African society. 

Because of the conservative sexual mores expected of women in the Igbo community, Adaku, by renouncing her marriage to Nnaife, choosing to live alone, and entertaining men friends, sets herself apart from the other married women in her community who seek status and protection in the home of respectable African men. Adaku, by contrast, is determined to become a successful trader and keep men at her disposal.

Conclusion:-

The Joys of Motherhood stands as a model for other African women writers who wish to portray the actual condition of women and their responses to their condition and the actual possibilities of overcoming barriers and achieving individuality.

If you know more about this novel, watch this YouTube video...

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'Plagiarism and Academic Integrity'.

 Hello Everyone,

I am Hinaba Sarvaiya, a student of the English Department at MKBUniversity. This blog is assigned by our Medha Ma'am. This blog is based on 'Plagiarism and Academic Integrity'.

What is Plagiarism:-

MLA Handbook of Literary Research defines plagiarism as “intellectual theft”, the word plagiarism derived from the Latin word plagiarius which means ‘kidnapper.’ In computer language it can be termed as hackers who hacks the people’s ideas, thoughts and work.(MLA) 

Accordingly to Oxford Dictionary:

Plagiarism is presenting someone else’s work or ideas as your own, with or without their consent, by incorporating it into your work without full acknowledgement.

All published and unpublished material, whether in manuscript, printed or electronic form, is covered under this definition. Plagiarism may be intentional or reckless, or unintentional. Under the regulations for examinations, intentional or reckless plagiarism is a disciplinary offence.

Consequences of Plagiarism:- 

With plagiarism detection software so readily available and in use like Urkund, plagiarism can be easily caught, results of that can be personal, professional, ethical, and legal. Once anyone is accused of plagiarism, a person will most likely always be regarded with suspicion and provoke skepticism. The charge of plagiarism is a serious one for all writers, journalists, research scholars, faculties and students. Plagiarists are often considered as incapable of developing and expressing their own original thoughts, ideas or opinions and willing to deceive others. Professional writers like journalists when accused of Plagiarism they can lose their jobs and suffer public embarrassment and loss of prestige. 

Destroyed Student or Scholar Reputation:-

Students who plagiarize or engage in academic dishonesty face serious consequences like failure in the assignment, grade reduction or course failure, suspension, and possibly dismissal. 

Destroyed Academic and Professional Reputation :-

Their work without caring about citing other's work and presenting it as their original writing may lose the trust of the readers and that trust is never easy to win. 

Legal and Monetary Repercussions:-

Legal consequences of plagiarism can be quite serious. Copyright laws are there, one cannot use another person’s material without citation and reference. An author has the right to complain against a plagiarist.

How to know Plagiarism:-

Today, Technology has advanced in many ways as it also provides useful software so that we can easily check the percentage of plagiarism that students or research scholars have done.

These are some plagiarism detection software for students or research scholars

Scribbr Plagiarism Checker

Urkund 

Grammarly

PlagScan

Copyscape

iThenticate

Unicheck

 

In each plagiarism checker we can find the plagiarism percentage that shows how much we have copied. 

How to avoid Plagiarism 

Plagiarism is a very serious issue of academia. It severely harms academic integrity. Thus students and researchers are made aware about proper documentation. It can be only avoided by proper citation. Most of the universities use plagiarism detection software to uncover potential plagiarism and to deter students from plagiarizing. Academic integrity can be maintained by providing students with thorough orientations, required writing courses, and clearly articulated honor codes. By generating a uniform understanding among students and researchers that plagiarism is wrong.

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Introduction: History in Translation article by Tejaswini Nilanjana

 Hello Everyone,

Myself, Hinaba Sarvaiya, and my friends Bhavna Sosa and Dhavni Rajyaguru presented an article by Tejaswini Nilanjana INTRODUCTION: HISTORY IN TRANSLATION. 

Here is the video recording of the presentation

Here is the presentation presented above video

I am sharing 'I am sharing 'Introduction _ History in Translation ' with you' with you.pptx from HinabaSarvaiya

Article:8

Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry' by E.V. Ramkrishnan.

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Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry' by E.V. Ramkrishnan.

 

Hello Everyone,

I am Hinaba Sarvaiya, a student of the English department at MKBU. This blog is my part of Thinking Activities assigned by our pro. Dr. Dilip Barad sir. In this blog based on paper 208: Comparative Literature and Translation Studies. And here I am discussing, 'Shifting Centres and Emerging Margins: Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry' by E.V. Ramkrishnan.

This chapter examines the role played by translation in shaping a modernist poetic sensibility in some of the major literary traditions of India in the twentieth century, between 1950 and 1970. Translations of major European poets such as Baudelaire, Rilke, Eliot and Years contributed towards clearing a space for the modernist discourse in Indian poetry. 

The chapter will study examples from Bengali, Malayalam and Marathi, to understand how such translations of modern Western poets were used to breach the hegemony of prevailing literary sensibilities and poetic modes. Many of the major Indian poets-such as Buddhadeb Bost, Agyeya, Gopalakrishna Adiga, Dilip Chitre and Ayyappa Paniker -were also translators. 

Their translations were foreignising translations that disrupted cultural codes that legislated regimes of reading and writing poetry. Also, translations during the early phase of modernism in major Indian languages appeared in little magazines that played a critical role in opening up the poetic discourse. 

Apart from providing alternative models of baking and imagining the world, these translations also legitimised experimental writing styles that became a defining feature of modernist Indian poetry. As the contradictions within the 'high' modernist mode depened in the politically turbulent 1960s, one witnessed a gradual tadicaliation of modernist sensibility in these languages. Here, once again, it is a translation that enabled poets to turn away from modernist high style, providing a critique of its elitism and complicity with nationalist discourses.

André Lefevere's concept of translation as refraction/ rewriting, the chapter argues that 'rewritings' or 'refractions' found in the 'less obvious form of criticism..., commentary, historiography (of the plot summary of famous works cum evaluation type, in which the evaluation is unabashedly based on the current concept of what "good" literature should be), teaching, the collection of works in anthologies, the production of plays' (2000, 235) are also instances of translation.  

An essay on T. S. Eliot in Bengali by Sudhindranath Dutta, or a scathing critique in Malayalam on the poetic practices of Vallathol Narayana Menon by Ayyappa Paniker, can also be described as 'translational' writings as they have elements of translation embedded in them. Both these essays 'carry across' modes and models from an alien Western tradition to interrogate the self-sufficiency of an entrenched poetic.

Modernist writers were responding to the internal dynamics of their own traditions in selectively assimilating an alien poetic that could be regressive or subversive depending on the context and the content.

The term 'modernism' implies a literary/artistic movement that was characterised by experimentation, conscious rejection of the nationalist/ Romantic as well as the popular, and the cultivation of an individualist, Cosmopolitan and insular world view. In the European context, it signified a set of tendencies in artistic expression and writing styles of the late nineteenth and early twentieth centuries through a new aesthetic that was iconoclastic, insular and elitist. The aesthetics of modernism in the West had a transnational, metropolitan worldview that excluded the claims of the local and the national and made no concession to the popular taste. 

While the modernism that emerged in Indian literature shared many of these defining features, its political affiliations and ideological orientations were markedly different. Due to its postcolonial location, Indian modernism did not share the imperial or metropolitan aspirations of its European counterpart. It invested heavily gional cosmopolitan traditions. It was oppositional in content and questioned the colonial legacies of the nationalist discourse. It was elitist and formalistic and deeply distrustful of the popular domain.

The emerging problematic will have to contend with issues of ideological differences between the Western modernism and the Indian one, the different trajectories they traversed as a result of the difference in socio- political terrains and the dynamics of the relations between the past and the present in the subcontinent, which has a documented history of more than five thousand years. The problematic that informs this argument is manifest in the critiques of Eurocentric accounts of modernism by Gikandi, Friedman, Doyle and Winkiel, and Rebecca L. Walkonwitz. in different ways.

In the context of Bengali, as Amiya Dev has observed, 'It was not because they imbibed modernism that the adhunik [modernist] Bengali writers turned away from Rabindranath; on the contrary, Modernism was the means by which they turned away from Rabindranath and they had to turn away, for their history demanded it (in Ananthamurthy et al 1992, 7). Commenting on the role of Kannada modernists. R. Sasidhar writes,

If European modernism was drawn between the euphoric and the reactive. In Kannada the precipitate modernism was drawn between the Brahmanical and the non-Brahmanical. Just as the euphoric and the reactive modernisms were part of the internal dynamics of modernism itself, so also the Brahmanical and the non-Brahmanical modernisms in Kannada were part and parcel of a modernism that came as a reaction to the Nehruvian environment. (in Satchidanandan 2001, 34)

We will look at three representative modernist authors from three separate Indian literary traditions - Sudhindranath Dutta (1901-60) from Bengali, B. S. Mardhekar (1909-56) from Marathi and Ayyappa Paniker (1936-2004) from Malayalam. These authors help us see the chronological trajectory of modernism across Indian literature. While the modernist shift in Bengali emerged in the 1930s and continued into the 40s and 50s, it manifested itself in Marathi from the 1950s to the 60s. It was in the 1960s that the Malayalam literary sensibility was transformed into the modernist mould, its influence slowly waning by the late 70s, though by that time, it had redefined the relations between content and form in all literary forms.

Translation is central to the modernist poetic as it unfolded in these literary traditions. Each of these three authors was bilingual and wrote essays in English as well as their own languages, outlining their new, poetic, thus preparing the reader for new poetic modes.

We can see one of the complex contradictions that beset Indian modernists: their pursuit of cosmopolitan and universal values could not be at the cost of a complete disjunction from tradition. In his radio talk on Eliot, delivered on the occasion of the latter winning the Nobel Prize in 1948, Dutta highlights Eliot's commitment to tradition as 'revolutionary in the fullest sense of the term'. He adds, 'But I am convinced that if civilization is to survive the atomic war, Mr. Eliot's ideal must become widely accepted, so that in the oases that may escape destruction it may be cherished through the interregnum' (55). Obviously, Dutta's endorsement of Eliot's world view has to be seen in relation to his critique of contemporary Indian society. Modernism in India was part of a larger decolonising project. It was not a mindless celebration of Western values and the European, avant-garde.

Ayyappa Paniker also began as a Romantic poet but transformed himself into a modernist with a long poetic sequence titled Kurukshetram published in 1960. Paniker was a poet, critic and translator, who, apart from introducing world poetry to Malayalam readers through translations published in his little magazine, Kerala Kavita, also created the cultural environment for a shift in the literary sensibility through critical interventions. He published a translation of The Love Song of Alfred J. Prufrock in his journal in 1953. Earlier, in 1950, in an article on T. S. Eliot, Paniker had highlighted the idea that it was not form and prosody that created poetry but the invention of rhythm and resonance that befit the emotion. He urged Malayalam poets to reject prosody in favour of rhythmic free verse.

The Romantic poets had made a shift from Sanskritic traditions to folk metres, which was a movement towards forms. The experimental open of the modernists, on the other hand, opened up poetic forms poetry further, by using imagist, suggestive free verse that affirmed that cach poem has its authentic form which cannot be approximated to a metre which functions independent of content.

It is important to understand the indigenous roots/routes of modernity and modernism in all the three writers discussed above. They partake of the logic of a postcolonial society which had already developed internal critiques of Western modernity. In other words, they had access to the intellectual resources of alternative traditions of modernity that were bred in the native context. This enables them to selectively assimilate resources of a Western modernity on their own terms. They translate modernity/modernism through the optics of postcolonial 'modernities' There is an internal dialectic and an external dialogic involved here.

The modernist subject was fragmented and fractured in the Indian context, but not for reasons that constituted fragmented selves in the Western context. Colonial modernity operated within the Indian context as a realm of desire which brought into being a new social imaginary.

The formalist poetry of modernist poetry corresponded to an inner world of desire that produced a language bristling with disquiet and angst. Translation enabled the displaced self of modernity to locate itself in a language that was intimately private and, also, outspokenly public. The idiom of their expression afforded the possibility of self-knowledge through epiphanies that brought 'momentary stay against confusion (Ramanan 1996, 56). 

Thus, language became, for the modernists, the only reality that they could relate to. Their moment of recognition, enabled by the discourses of 'Western' modernism, was postcolonial in its essence. The self-reflexive movement was also made possible by the carrying across of not content or form, but an interior mode of being that questioned the prevailing limits of freedom. 

In this full article explanation see in this YouTube video. This Article is explained by Khushbu Makvana and Nehalba Gohil students of the English department MKBU.

Presentation Slides

sem4 comparative study.pptx from Khushbumakwana3

Research Methodology

 I am Hinaba Sarvaiya, a student of The English Department, MKBUniversity Bhavnagar. In the task given by sir to watch three videos on 'Review of related literature'. In this blog I am sharing my output on watching the three videos.

Many students are instructed, as part of their research program, to perform a literature review, without understanding what a literature review is. First I will discuss the definition of Literature Review.

Definition of Literature Review:-

A Literature Review is an account of what has been published on a topic by accredited scholars and researchers.

My Understanding is that: Research means knowing something and research Scholars become a knower first. Research means something found evidence of logical or reasonable. Researchers can not have an emotional connection to their research area. Emotional connection that can not get proper results of the research.

Research Scholars are not normal human beings, they are always in a painful process. Self-doubt is necessary in research. Scientific or basic fundamental to always doubts and questions about their research. Without a doubt it can't be possible to research.

Why is literature Review carried out in research?

Literature Review is more important in our Research. Literature Review means something we refer to our Research area and give to another person's argument or what they say about this topic. We put their arguments with their own point of agreement or disagreement for that. Literature Review means finding gaps then researching the use of new methods and giving your next level arguments. 

Step by step understanding of writing literature Review:-

First write a Literature Review then analysis of literature review and concluding part of your research, and final part to write an introduction. This process is very helpful to your research. Write accordingly to get ideas of what your points to prove in your thesis. Introduction's last line is connected to the concluding paragraph of the first line. 

Part I: 'Ontology & Epistemology':-

The first video is based on 'Ontology & Epistemology'. If we become a research scholar, happiness is not just happiness's purpose only. Research scholars are not just normal human beings. Research Scholars' way is always a painful process.

Research means knowing something and research Scholars become a knower first. Research means something found evidence of logical or reasonable. Researchers can not have an emotional connection to their research area. Emotional connection that can not get proper results of the research. Let's given to example of that I am belong to Dalits area and my research topic based on Dalits people's life or their identity of world. It's not giving logical or reasonable results of my research because my personal attachment does not find logical or reasonable research. I always see that positive side but as researchers I am looking both positive and also negative. Observing things is not a personal bias. Observation is more important to be curious about knowledge.

How do we find things out? 

This question is very important. Research Scholars to find research topics. They always think about relationships. In the word "Skepticism" means doubt. But used the capital"S" word for "Self-doubt" based on research by Scholars. They always doubt your research because knowing everything is impossible. We can never know everything. Research Scholars are always thinking about the Self-doubt like: What I understand may not be right? They keep on always cross checking. 

Limitation of area:-

Scientific or basic fundamental to always doubts and questions about their research. Without a doubt it can't be possible to research. Research Scholars are not normal human beings, they are always in a painful process. Self-doubt is necessary in research.

Ann Gray in 'Research Practice for Cultural Studies' :-

-What is knowable?

-This is an Ontological question?

-What is the relation of the knower to the known?

-This is an Epistemological question?

Ontology:-

Ontological comes from two Greek Words:

Onto= Existence,or being real.

Logic= Science, or study.

Ontological means study of existence, but is a very confusing meaning to study of existence. The word ontology is used both in a philosophical and non philosophical context. If we looked at the philosophical context of what exists? This is divided into two branches. 

Materialism

Idealism

Example like Shoes connected to walking. It means that shoes are material things, we have to touch. Walking is a process or feeling. Shoes connection with the texts, it exists and walking connection of theory. It means there exists relation in text and theory. Reality exists regarding human observers.

And idealism is reality constructed by the human mind and consciousness. 

If you are doing more philosophical and theological work then this idea of Ontological idealism is very important. For you because that is where you are going to construct reality as an observer.

Materialism, if you are trying to look at something that is already existing there and that it is already there even if you are not there.

Epistemological :-

Epistemological comes from the two Greek Words:

Episteme= knowledge, understanding

Logia= Science, study

Epistemological means the study of knowledge or existence of knowledge. If things of belief. And justified the help of evidence. Evidence was good qualities, logical or reasonable. 

Epistemology is divided into three branches: Rationalism, Empiricism, and formal/genetic and social. The most important is Rationalism. They divided it into three Deductive reasoning, intuitive method and Logical reasoning. 

PART II

PART III 

I hope it is helpful for to understanding Research Methodology. Thank You For Visiting My Blog.

The Collection Essay of A.K. Ramanujan "On Translation a Tamil Poem".

 Hello Everyone,

I am Hinaba Sarvaiya, a student of the English department at MKBU. This blog is my part of Thinking Activities assigned by our pro. Dr. Dilip Barad sir. In this blog based on paper 208: Comparative Literature and Translation Studies. And here I am discussing, The Collection Essay of A.K. Ramanujan "On Translation a Tamil Poem".

Part I

This essay is divided into three parts. In Part I started with the Question, how does one translate a poem from another time, another culture, another language? The poems I translate from Tamil were written two thousand years ago in a comer of south India, in a Dravidian language relatively untouched by the other classical language of India, Sanskrit. 

Of the literatures of the world at that time, Sanskrit in India, Greek and Latin in Europe, Hebrew in the Middle East, and Chinese in the Far East were Tamil's contemporaries. 

Over two thousand Tamil poems of different lengths, by over four hundred poets, arranged in nine anthologies, have survived the vagaries of politics and wars; changes of taste and reli gion; the crumbling of palm leaves; the errors and poverty of scribes; the ravages of insects, heat, cold, water, and fire.

The subject of this paper is not the fascinating external history of thi literature, but translation, the transport of poems from classical Tamil modern English; the hazards, the damages in transit, the secret paths, and the lucky bypasses.

The chief difficulty of translation is its impossibility. First once even identified poetry as that which is lost in translation.

Here is a poem from an early Tamil anthology, Ainkurunuru 203, in modern Tamil script (Ramanujan 1985, 230).

How shall we divide up and translate this poem? What are the units of translation? We may begin with the sounds. We find at once that the sound system of Tamil is very different from English. For instance, Old Tamil has six nasal consonants: a labial, a dental, an alveolar, a retroflex, a palatal and a velar—m, n, n, ñ, ǹ, n-three of which are not distinctive in English. 

How shall we translate a six-way system into a three-way English system (m, n, n)? Tamil has long and short vowels, but English has diphthongs and glides. So it is impossible to translate the phonology of one language into that of another.

Looking at the Grammar briefly, Tamil has no copula verbs for equational sentences in the present tense, as in English, e.g., 'Tom is a teacher'; no degrees of adjectives as in English, e.g., 'sweet, sweeter, sweetest’;

no articles like 'a, an, the': and So on. Tamil expresses the semantic equivalents of these grammatical devices by various other means. The lies and ambiguities of one language are not those of another.

When we attend to syntax, we see that Tamil syntax is mostly left- branching. English syntax is, by and large, rightward. Even a date like 'the 19th of June, 1988,' when translated into Tamil, would look like '1988, June, 19.' The Tamil sentence is the mirror image of the English one. 

The most obvious parts of language cited frequently for their utter untranslatability are the lexicon and the semantics of words. For lexicons are culture-specific. Terms for fauna, flora, caste distinctions, kinship systems, body parts, even the words that denote numbers, are culturally loaded. Words are enmeshed in other words-in collocations, in what can go with what ('a blue moon, a red letter day, a white elephant, purple prose').

Even when the elements of a system may be similar in two languages, like father. mother, brother, mother-in-law.etc..ukin- ship, the system of relations (say, who can be a mother-in-law, who can by law or custom marry whom) and the feelings traditionally encouraged about each relative.

The five landscapes of the Tamil area, characterised by hills, seashores, agricultural areas, wastelands, and pastoral fields, each with its forms of life, both natural and cultural.

When one translates, one is translating not only Tamil, its phonology, grammar and semantics, but this entire intertextual web, this intricate yet lucid second language of landscapes which holds together natural forms with cultural ones in a code, a grammar, a rhetoric, and a poetics.

Part II

The love poems get parodied, subverted, and played with in comic poems and poems about poems. In a few centuries. both the love poems and the war poems provide models and motifs for religious poems. Gods like Krsna are both lovers and warriors. Human love as well as human politics and conflict become metaphors for man's relations with the divine. The relations of lover and beloved, poet and patron, bard and hero, get transposed, or translated if you will, to poet- saint and god.

Thus any single poem is part of a set, a family of sets, a landscape , a genre. The intertextuality of s concentric. a pattern of memberships as well as neighbourhoods, of kenesses and unlikeness. Somehow a translator has to translate each poem in ways that suggest these interests, dialogues, and networks.

Part III

This part III given four things like:

Universals

 If there were no universals in which languages partic- ipate and of which all particular languages were selections and combinations, no language learning, translation. comparative studies or cross-cultural understanding of even the most meagre kind would be possible. If such universals did not exist, as Voltaire said of God, we would have had to invent them. They are at least the basic explanatory fictions of both linguistics and the study of literature.

Interiorised contexts

 However culture-specific the details of a poem are. poems like the ones I have been discussing interiorise the entire culture. Indeed, we know about the culture of the ancient Tamils only through a careful study of these poems Later coloptions and com mentaries explore and explicate this knowledge carried by the poems.

Systematicity

The systematicity of such bodies of poetry, the way figures, genres, personae, etc., intermesh in a master-code, is a great help in entering this intricate yet lucid world of words. One translates not single poems but bodies of poetry that create and contain their origins world.

Structural mimicry

 Yet, against all this background, the work of translating single poems in their particularity is the chief work of the translator. In this task, I believe, the structures of individual poeins, the unique figures they make out of all the given codes of their language, rhetoric, and poetics, become the points of entry. The poetry and the significance reside in these figures and structures as much as in the un- translatable verbal textures.

Conclusion:-

End of this essay Ramanujan gave an example of a Chinese emperor who ordered a tunnel to be bored through a great mountain. The engineers decided that the best and quickest way to do it would be to begin work on both sides of the mountain, after precise measurements. If the measurements were pre- cise enough, the two tunnels would meet in the middle, making a single one. (But what happens if they don't meet? asked the emperor. The coun- sellors, in their wisdom, answered, (If they don't meet, we will have two tunnels instead of one. So too, if the representation in another language is not close enough, but still succeeds in 'carrying' the poem in some sense, we will have two poems instead of one.

In this full article explanation see in this YouTube video. This Article is explained by Nirav Amrelia and Himanshi Parmar students of the English department MKBU.

Presentation Slides:-

On Translating a Tamil Poem - A. K. Ramanujan.pptx from Nirav Amreliya

Thank You 

"Translation and Literary History: An Indian View" by Ganesh Devi.

 Hello Everyone,

I am Hinaba Sarvaiya, a student of the English department at MKBU. This blog is my part of Thinking Activities assigned by our pro. Dr. Dilip Barad sir. In this blog based on paper 208: Comparative Literature and Translation Studies. And here I am discussing the article "Translation and Literary History: An Indian View" by Ganesh Devi.

'Translation is the wandering existence of a text in a perpetual exile,' 

                        - J. Hillis Miller

The statement obviously alludes to the Christian myth of the Fall, exile and wandering In Western metaphysics translation is an exile, a fall from the origin; and the mythical exile is a metaphoric translation, a post-Babel crisis. Given this metaphysical precondition of Western aesthetics, it is not surprising that literary translations are not accorded the same status as original works. Western literary criticism provides for the guilt of translations for coming into being after the original; the temporal sequentiality is held as a proof of diminution of literary authenticity of translations. 

The strong sense of individuality given to Western individuals through systematic philosophy and the logic of social history makes them view translation as an intrusion of 'the other (sometimes pleasurable). 

This intrusion is desirable to the extent that it helps define one's own identity, but not beyond that point. It is of course natural for the monolingual European cultures to be acutely conscious of the act of translation. The philosophy of individualism and the metaphysics of guilt, however, render European literary historiography incapable of grasping the origins of literary traditions. one

One of the most revolutionary events in the history of English style has been the authorized translation of the Bible. It was also the literary expression of Protestant Christianity. The recovery of the original spirit of Christianity was thus sought by Protestant England through an act of translation. It is well known that Chaucer was translating the style of Boccacio into English when he created his Canterbury Tales. When Dryden and Pope wanted to recover a sense of order, they used the tool of translation. Similar attempts were made in other European languages such as German and French.

During the last two centuries the role of translation in communicating literary movements across linguistic borders has become very important. The tradition that has given was like Shaw, Yeats, Joyce, Beckett and Heaney in a single century - the tradition of Angles kross literating-branched out of the practice of translating Irish works into English sturatul by Macpherson towards the end of the eighteenth century, Indian English Literatures.

 Roman Jakobson in his essay on the linguistics of translation proposed a threefold classification of translations: 

(a) those from one verbal order to another verbal order within the same language system,

 (b) those from one language system to another language system, 

(c) those from a verbal order to another system of signs.

 As he considers, theoretically, a complete semantic equivalence as the final objective of a translation act - which is not possible - he asserts that poetry is untranslata He maintains that only a 'creative translation' is possible. This view further supports formalistic poetics, which considers every act of creation as a completely unique event. It is however, necessary to acknowledge that synonymy within one language system cannot be conceptually identical with synonymy between two different languages.

 The concept of synonymy in the West has remained inadequate to explain translation activity. And in the absence of a linguistic theory based on a multilingual perspective or on translation practice, the translation thought in the West overstates the validity of the concept of synonymy.

J.C. Catford presents a comprehensive statement of theoretical formulation about the linguistics of translation in A Linguistic Theory of Translation, in which he seeks to isolate various linguistic levels of translation. His basic premise is that since translation is a linguistic act any theory of translation must emerge from linguistics: 

'Translation is an operation performed on languages: a process of substituting a text in one language for a text in another; clearly, then, any theory of translation must draw upon a theory of language  a general linguistic theory'.

The privileged discourse of general linguistics today is closely interlinked with developments in anthropology, particularly after Durkheim and Lévi-Strauss. During the nineteenth century, Europe had distributed various fields of humanistic knowledge into a threefold hierarchy: 

•Comparative studies for Europe, 

•Orientalism for the Orient, and 

•Anthropology for the rest of the world.

In its various phases of development modern Western linguistics has connections with all these. After the 'discovery' of Sanskrit by Sir William Jones, historical linguistics in Europe depended heavily on Orientalism. 

Translation can be seen as an attempt to bring a given language system in its entirety as close as possible to the areas of significance that it shares with another given language or languages. All translations operate within this shared area of significance. Such a notion may help us distinguish synonymy within one language and the shared significance between two related languages.

The translation problem is not just a linguistic problem. It is an aesthetic and ideological problem with an important bearing on the question of literary history. Literary translation is not just a replication of a text in another verbal system of signs. replication of an ordered sub-system of signs within a given language in another corresponding ordered sub-system of signs within a related language.

The problems in translation study are, therefore, very much like those in literary history. They are the problems of the relationship between origins and sequentiality. And as in translation study so in literary history, the problem of origin has not been tackled satisfactorily. The point that needs to be made is that probably the question of origins of literary traditions will have to be viewed differently by literary communities with translating consciousness The fact that Indian literary communities do possess this translating consciousness can be brought home effectively by reminding ourselves that the very foundation of modern Indian literatures was laid through acts of translation, whether by Jayadeva, Hemchandra, Michael Madhusudan Dutta, H.N. Apte or Bankim Chandra Chatterjee.

Conclusion:-

Christian metaphysics that conditions reception of translation in the Western World. Indian metaphysics is an unhindered migration of the soul from one body to another. Indian philosophies of the relationship between form and essence, structure and significance are guided by this metaphysics. The soul, or significance, is not subject to the laws of temporality; and therefore significance, even literary significance, is ahistorical in Indian view. Elements of plot, stories, characters, can be used again and again by new generations of writers because Indian literary theory does not lay undue emphasis on originality. If originality were made a criterion of literary excellence, a majority of Indian classics would fail the test. The true test is the writer's capacity to transform, to translate, to restate, to revitalize the original. And in that sense Indian literary traditions are essentially traditions of translation.

In this full article explanation see in this YouTube video. This Article is explained by Nilay Rathod and Emisha Ravani students of the English department MKBU.

Presentation Slides:-

Translation and literary History An Indian View by Ganesh Devi.pptx from Nilay Rathod 

          

Here click to read article 7 on The Collection Essay of A.K. Ramanujan "On Translation a Tamil Poem". 

Thank You...

Comparative Literature in the Age of Digital Humanities: On Possible Futures for a Discipline" by Todd Presner

 Hello Everyone,

I am Hinaba Sarvaiya, a student of the English department at MKBU. This blog is my part of Thinking Activities assigned by our pro. Dr. Dilip Barad sir. In this blog based on paper 208: Comparative Literature and Translation Studies. And here I am discussing the article "Comparative Literature in the Age of Digital Humanities: On Possible Futures for a Discipline" by Todd Presner.

Click here to see The Article " Introduction: What is Comparative Literature Today?" by Susan Bassnett

Abstract:

After five hundred years of print and the massive transformation in society and culture. The invention of the printing press aur perhaps the discovery of the new world. With the invention of the printing press communications, literacy, and the state of knowledge completely changed, providing the conditions of possibility for the Reformation,The Enlightenment, the age of humanism and the rise of mass media. The impact of print and the "discovery" of the New World were predicted on networking technology which not only enabled the destination of knowledge into a new cultural and social sphere. The construction of the infrastructure of the internet, the posting of the first web pages and the explosion of real time social networking on handheld devices. In this technology we have in common a contraction of time and space realised through the control and regulations of knowledge, information and bodies.

Key Argument:-

-Age of humanism

-Rise of mass media

-Sharing and transforming humanity and scientific knowledge

-Liberation of humankind

-Three futures for comparative literature in the digital age.

Nicholas Negroponte asserted in his widely optimistic book "Being Digital" for they always have an underbelly: mobile phones, social networking technologies, and perhaps even the hundred dollar computer will not only be use the enhance education, spread democracy and unable global communication but will likely be used to perpetrate violence and even orchestrate genocide in much the same way that the radio and the railway did in the last century.

Paul Gilroy analysed in his study of "the fataljunction of the concept of nationality with the concept of cultural" along the "Black Atlantic", voyages of discovery, enlightenment, and process also mean at very moment voyages of conquest, enslavement and destruction. Indeed this is why any discussion of technology cannot be separated from discussions about formations of power and instrumentalized authority. 

Literary scholar and N. Katherine Hayles, I found myself wondering as we ponder various possible futures for comparative literature in the second decade of the 21st century how to rouse ourselves from the "somnolence five hundred years of print". Medium of print rather it is a medium that has a long and complex history connected to the formation of academic discipline, institutions, epistemology and ideology.

Walter Benjamin did in 'The Arcades Project', it is necessary, I believe, to interrogative both the media and mythologies for the study of literature, culture, and society. Benjamin the montage from the transform historical scholarships by re-focusing attention on what it means to write history, digital media enable us to reformers on the media, methodologies and affordances of print culture in practice of comparative literature. He examined the field a bit more broadly by situating the transformations of the literary visa Vis a versa a set of issues that have emerged over the past decade in the digital humanities.

Digital humanities in an umbrella town to avoid any interdisciplinary practice for creating, interpreting, interrogating and hacking both new and old information technologies. Digital humanities projects are almost always collaborative, engaging humanists, technologists, librarians, social scientists,artists, information scientists and computer scientists etc. 

Jeffrey Schnapp and Todd Presner bahut articulated in various instructions of the digital humanities manifesto it is essential that humanists desert and insert themselves into the 21st century culture words which are largely being defined to fight and win by corporate interest. Why for example were humanist, foundations and University conspicuously even scandalously silent when Google won its book search lawsuit and effectively won the right to transfer copyright of orphan books to itself? By whom and for whom? These are questions that humanists must urgently ask and answer. 

 Todd Presner's point following on Franco Moretti's provocation is to consider comparative literature as a problem that asks for a new critical method to analyse both the print world in the digital age and the digital world in the post print age. The problem of comparative literature is to figure out how to take seriously the range of new authoring and nocations and sharing platforms that have transformed global cultural production. Moretti has already indicated one possible way of doing this in his articulation of distinct reading, a specific form of analysis that focuses on larger unit and favour elements in order to reveal their overall interconnection, shapes, relations, structure and form, models.

Todd Presner briefly discusses three futures for comparative literature in the digital age. 

Comparative media studies:-

The 20th century opening the origin of comparative literary and textual study to field of art history, photography, film and television, digital media offer a more fundamental challenge since they not only transform the media exceptions built into the words we traditional study but also the scholarly environment that we inhabit, the analytic and technical tools that we employee to perform our research and platforms we use. 

Digital media are always already hypermedia and hypertextual. Theoder Nelson in his early articulations of the conceptual infrastructure for the world wide web. He called his invention the Evolutionary List File an interconnected, interlinked, hypermedia information system that could grow and proliferate as authors and readers added new material in an open ended authoring, curatorial and annotations environment.

Comparative media studies thus enable return to the same of the most fundamental questions of our field with new urgency: what is an author? What is work? What constitutes a text, particularly in an environment in which any taxes readerly and writerly by potentially anyone?

Comparative data studies:-

Lev Manovich and Noah Wardip-Fruin, the field of cultural analysis has emerged over the past five years to bring the tools of high and computational analysis and data visualisations to desert large scale cultural datasets. Search data sets might include historical data that have been digitised such as every short in the field of Vertov or Einstein, the covers and content of every margin and published in the United States in the 20th century. 

Jerome McGann argues with regard to the first in his elegant analysis of radian sexuality the differences between the Codex and electronic versions of the Oxford English dictionary for example illustrate that the electronic OED is a meta book consumed think that the chordex oedi provided and reorganised it at the higher level. 

The data of comparative data study is constantly expanding in terms of volume, data types, production and reception platform, and analytic strategy.

Comparative authorship and platform studies:-

While the radically "democratizing" claims of the web and information technology should certainly by critically interrogative, Todd Presner think that the lowered when compared to the world of print and more than that collaborative authorship peer to peer sharing of content and crowd source evolutions of data are the whole marks of the participatory web known as the world of web. 

We know longer just "browse" and passively consume predigested content but are actively engaged in the production, annotation, and evolutions of digital media and software thanks to the open source movement. James Boyle out, they are many corporate entities to regulate the public domain and control the "commons of the mind". For Boyle, the real danger is not on authorised file sharing but "failed sharing" due to enclosures and strictures placed upon the world of the creative comments.

While comparative literature scholarship has not generally consented to design, interactivity, navigation strategies, and collaboration, these issues are a decisive part of the domain of comparative authorship and platform studies. The knowledge platform cannot be simply "handed off" to the technicians, publishers, and librarians as if the curation of knowledge, the physical and virtual arrangement of information as an argument through multimedia constellations is somehow not the domain of literary scholars. 

Other academy platforms such as Grand Text Auto, USC's experimental authoring and collaboration platform "Scalar", Rice University press and MCKenzie Wark and Kathleen Fitzpatrick have even published early versions of the entire books on common press.

Wikipedia aur revolutionary knowledge production and editing platform. Wikipedia is already the most comprehensive representative and Participatory form for knowledge and production ever created by humankind. 

Conclusion:-

Todd Presner concluded by referring to Wikipedia and she suggesting that is actually a model for re-thinking collaborative research and disseminations of knowledge in the humanity and institutions Of higher learning which are all too often fixed on individual training, discrete discipline, and isolated

achievement, and accomplishment.

In her opinion that is worth some pose and reflection perhaps even by scholars in a future discipline incarnation of comparative literature. 

In this full article explanation see in this YouTube video. This Article is explained by Vachchalatta Joshi and Hirva Pandya students of the English department MKBU.

Comparative_Literature_in_the_Age_of_Digital_Humanities.pptx from VachchhalataJoshi