Department of Literature and Languages

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This paper examines the representation of women’s bodies within the framework of B?ul philosophy, focusing on its spiritual, cultural, and gender dynamics. The primary objective is to explore how B?ul songs and literature depict the female body as both a medium for spiritual liberation and a site of societal control. Through critical engagement with theories from Foucault, Butler, Irigaray, Spivak, and de Beauvoir, the study analyzes the duality of women’s bodies being symbolized as empowering yet objectified in B?ul tradition. The research also addresses the subversive or reinforcing nature of patriarchal structures in these representations. By comparing B?ul with other South Asian mystic traditions, the paper offers insights into the intersection of gender, spirituality, and body politics while highlighting the contemporary relevance of these themes within feminist discourses

Motherhood, a familiar yet complex phenomenon, is informed by many factors whose consequences for women are often detrimental yet undermined. Particularly in India, discourse surrounding mothers’ health often disregards the social and familial expectations and impositions that threaten women’s authority over their own bodies. Amidst this, postpartum disorders, particularly the concept of postpartum psychosis, embody the anomalies of medical and social knowledge bases. Addressing the ambiguities and interconnectedness of motherhood and madness, this paper discusses the simplification of postpartum concerns as a biological condition alone and explores the complexities of diagnosis based on Em’s aetiologies. Addressing the psychopathological and social nuances of postpartum psychosis, this paper also advocates for destigmatising women’s apprehensions regarding the structural obligation of motherhood and broadening the discourse surrounding their reproductive autonomy.

As a concept within applied linguistics, areal linguistics concerns itself with investigating the nature of structural similarities among languages produced by contact rather than by history or by genetic similarities. A critical look at its descriptive linguistic agendas reveals that the domain needs to be revisited in terms of questions of power relations and linguistic inequalities within specific linguistic areas. Such investigations reconfigure the dynamics of geography and regionality within language as a site of power. This study seeks to make an intervention into India as a linguistic area with a focus on Sindhi, a non-regional language in India. Given that the language and the community do not have a state or a linguistic territory within India, the condition of Sindhi is characterized by a sense of precarity. Seen through the prism of India as a linguistic area, this precarity is not quite visible. In revisiting the celebrated concept of India as a linguistic area, this study suggests ways of asking contemporary questions about areal linguistics that go beyond describing the nature of contact among languages, and instead ask how this contact impacts the markers of hegemony over minor languages in terms of technological, epistemological, and aesthetic leverage.

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This article seeks to investigate how Ram Devineni and his team’s productions – Priya’s Shakti (2014), Priya’s Mirror (2016), and Priya and the Lost Girls (2019) – break the coveted layers of frames and panels of comics and go beyond them to sensitise the readers on the nuances of gender-based violence in India with the incorporation of augmented reality. Within the fields of comics studies and gender studies, the article also explores how augmented reality in graphic narratives encourages and facilitates its readers in being sensitised to the gender roles and gender-based issues pertinent in South Asian societies. Before the series’ origin as an outcome of the protest against the 2012 Delhi-Rape Case, Devineni locates the diverse nuances of gender-based violence (rape, acid attack, sex trafficking) and addresses them in their comics using Hindu Mythology as a tool

In The Clear Line in Comics and Cinema, Pinho Barros puts forth a thought-provokingcontemplation of the use of ligne claire in various forms of media, with particular emphasis on films

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The study analyzes two Bengali Dalit autobiographies in both original and translated versions. One is Itibritte Chandal Jiban (2012) by Manoranjan Byapari (trans. Interrogating My Chandal Life: An Autobiography of a Dalit in 2018), and the other is Amar Bhubane Ami Benche Thaki (2013) by Manohar Mouli Biswas (trans. Surviving in My World: Growing Up Dalit in Bengal in 2015). The present research brings forward some standpoints. First, the translation of Dalit autobiographies creates transnational solidarity. Second, the translators play the role of gatekeepers to show that translation sustains the literary and cultural essence ingrained within the texts and initiates and engages dialogic discussions among the audience and readers on the global platform. Third, the translation of Dalit autobiographies arrests the attention of those global readers who barely nurture any idea on caste, class, and casteist politics and deep-rooted issues like untouchability in India and constructs a distinct literary geography

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Studies of Partition frequently turn to literature to understand how displacement processes, among other things, impact aesthetics and representation. This article takes a broader view of aesthetics as representation: it demonstrates how turning to the literary archive of a moment and a community gives rise to questions about the politics of individual texts and literary historiography. Centered on Sindhi literature produced in India after Partition, it shows that examining the literary productivity of the community needs to involve questions of literature as political survival. It focuses on the earliest essays from the Sindhi literary scene in India (published in the Sahitya Akademi journal Indian Literature). The article argues that these essays register anxiety about the survival of a language trying to come into being in an already existing and complicated language-nation relationship. It unpacks three registers of anxiety visible in the literary archive to broaden the scope of the conversations around the Sindhi language and its literature.

The narrative approach to city writing in the postcolonial world gravitates towards metropolitan spaces. The discourse around how these cities are imagined and theorized uses reference points from modernity. With the emergence of the spatial turn in literary theory and criticism, this discourse borrows from Western, postmodern sensibilities to define cities and their narrative possibilities. In contrast to these sensibilities, regional variations of practising narrative geography that are non-Western and pre-modern reveal a heightened sense of territorial consciousness and a claim towards mythological origins posing as history. One of these genres is that of the pre-modern genre of the sthala purana from India. This article seeks to foreground it as a geographical narrative of individual locales within India. We argue that it is a genre that opens up fascinating possibilities for the exploration of cities outside postcolonial metropolises so that such spaces can be understood on their own terms rather than being compared to the big city as if it were a paradigm. We focus on one Kochi (a city in Kerala) novel by Sethu, The Saga of Muziris to explicate the knowledge-making about cities at work in such narrative geography in the way it invokes Kochi’s ancestor of the ancient port city of Muziris.

Richard McGuire talks about his creative process as a cartoonist and illustrator. With a special emphasis on his books Here and Sequential Drawings, McGuire elaborates on his experiments with the notions of ‘space’ and ‘time’ through graphic narratives.

Linguistic diversity does not find adequate space in LIS discourses around libraries in India and other regions with similar kinds of linguistic heritage. This study focuses on the state of Sindhi literature in India through a look at the libraries that house the works of Sindhi literary activity in post-Partition India. The objective is to highlight the role of libraries within language revitalization efforts. This study puts forth a five-point framework for digital transformation of Sindhi libraries in India which can help broaden the digital transformation efforts elsewhere in the Global South especially with minor languages and dialects. While the five-point framework is customized to the specific challenges faced by Sindhi regarding its script (and includes designing solutions for OCR, transliteration, and text to speech interaction), its principles could be applied to several other linguistic contexts, especially in the Global South. It, thus, seeks to bring LIS into sharp focus within the social imagination of communities of readers and as speakers of a language, and not just as academic institutions alone.

Within the liaison of decoloniality studies and comics studies, this paper investigates how the decolonial visual style in the comics anthology This Side That Side (Ghosh 2013) has been used to locate the traumatised past and violation of human rights due to the ‘b/ordering’ practices of partition of India . ‘The Taboo’ by Malini Gupta and Dyuti Mittal, ‘An Afterlife’ by Sanjoy Chakraborty, and ‘Making Faces’ by Orijit Sen cultivate the stories of the inhumane condition of the migrants and victims during and after the Indo-Pakistan and Indo-Bangladesh-Pakistan partition. These narratives exemplify decolonised counter comics narratives on collective and personal memories inflicted upon and against the dominant partition discourse. They help churn out the human stories of the interminable psychological violence of partition and post-partitioned reality

The present study aims to highlight the role that Clément Baloup’s comics, Vietnamese Memories: Leaving Saigon (Volume 1) and Vietnamese Memories: Little Saigon (Volume 2), play in the creation of an alternate archive that validates the forgotten tales and the memories of a neglected past. These texts provide an alternate form of remembrance by materialising the past in the form of images. The two volumes present the unheard experiences of the Vietnamese diaspora that Baloup recorded during his travels to the different parts of France and the U.S. Such experiences bring to the forefront memories that are otherwise kept at the margins or suppressed by the dominant discourse. If not recorded, they will be lost forever. The counter-memory, thus, calls for a reassessment of the idea of a singular past that denies the marginalised memories. It claims representation and restoration in the cultural memory. As works of postmemory, these texts form a link between the past and the present through mediation and give memorability to unremembered accounts. The memories are illustrated, and hence, visual representation becomes important to the task of postmemory here

Sean Michael Wilson delves into his multifaceted career as a graphic novel writer, revealing the intricacies of his creative process, the challenges of adapting complex subjects into visual narratives, and the evolving role of graphic novels in cultural discourse. With over 40 projects under his belt, Wilson shares his approach to beginning new works, whether they stem from original ideas or are adaptations of historical events and existing literature. He discusses the balance between authenticity and readability, the importance of research, and the collaborative dynamic between writer and artist in bringing graphic novels to life. Wilson also touches on the broader implications of graphic novels in education and social commentary, the economic realities of the industry, and the impact of digital platforms on publishing. His experiences across different cultures, particularly between the West and Japan, provide insight into the global reception of his work. Throughout the interview, Wilson emphasises the power of graphic novels as a medium for storytelling, education, and political engagement. © 2024 Informa UK Limited, trading as Taylor & Francis Group.

This paper delves into an in-depth exploration of Lalon’s conceptualisation of ‘Moner Manush’, transcending the conventional confines of ‘Jaat’ (caste) and Dharma (religion). Through a nuanced analysis of Lalon’s evolving perspectives, the study traces the transformative journey of the idea of ‘Moner Manush’. By dissecting the lyrical and philosophical aspects, the paper illuminates how Lalon’s spiritual musings challenge societal norms, promoting a universal ethos that goes beyond distinctions. This inquiry aims to unravel the evolving nature of Lalon’s concept of ‘Moner Manush’ and its enduring significance in fostering inclusivity and spiritual interconnectedness, surpassing the limitations of caste and religion. © 2024 Informa UK Limited, trading as Taylor & Francis Group.