Academic literature on the topic 'Roy, Arundhati (1961-....)'

Este artigo é um breve panorama da tradição da literatura indiana realizado com o objetivo de apresentar a autora indiana Arundhati Roy (1961) e sua obra The God of Small Things (1997), na qual ficção e episódios históricos, relativos às conseqüências da colonização inglesa na Índia, mesclam-se em um universo histórico-literário híbrido, composto de elementos da cultura oriental e da ocidental.Palavras-chave: The God of Small Things; Arundhati Roy; Hibridismo; Oriente; Ocidente.

Cette étude comparatiste et interdisciplinaire se situe au point de convergence de trois aires littéraires : la littérature mauricienne francophone et les littératures indiennes d’expression anglaise et hindi. Elle examine la place du sujet littéraire féminin dans des romans d’Ananda Devi, d’Arundhati Roy et de Krishna Sobti, où le sujet est en crise dans une société phallogocentrique. L’écriture féminine met ici en relief la valeur du corps : la sexualité féminine, considérée comme l’élément précipitant la chute de la femme du modèle au contre-modèle, est redoutée. La négociation de la paradoxalite�� du statut de la femme (à la fois objet et sujet du discours), à travers la langue et la société du regard, détermine sa construction et la revendication d’une identité propre passant par la révolte et la prise de parole ainsi que par la gestion de l’espace, mettant de ce fait en péril les frontières des interdits. En s’appuyant sur les études culturelles et les gender studies, on s’efforce ainsi de problématiser la subalternatité dans des contextes postcoloniaux et patriarcaux
At the meeting point of three literatures: Mauritian Francophone and Indian literature in English and Hindi, the focus is placed on the construction of female agency in the Indiaoceanic narrative space. Ananda Devi, Arundhati Roy and Krishna Sobti depict female protagonists, defined through their personal crisis, in a social structure dominated by the male logos. Their écriture feminine exposes the terror felt vis-à-vis the female body and female sexuality, seen as the operating cause of the fall of the woman, from model to counter-model. Furthermore, the subject/object dialectics motivated by power, is so fragile that very often the negotiation of this fine line determines the construction of the female protagonist, as well as her claiming of an identity of her own. Cultural studies and gender studies used as theoretical and aesthetic tools help us understand the problematic subalternity of the female character in both postcolonial and patriarchal contexts. Her emergence as subject of discourse takes place via revolt and through the reappropriation of language against “the gaze”, she thus redefines space in a way that destabilizes borders

The main objective of this research project is to analyse how the novels The God of Small Things (1997) by Arundhati Roy and The Inheritance of Loss (2006) by Kiran Desai can help readers and scholars construct an idea of India and of the Indian cultural identity. In order to develop this theory it is necessary to look into three aspects which are crucial to the building of knowledge on a nation, its culture and people and these are, national history, identity and cultural representation through different artistic production, including fictional narratives. Historical processes are the key to the unfolding of present circumstances and fundamental to the construction of a national identity that makes sense collectively. However, the perceptions of the past change according to philosophical and ideological trends, placing historical objectivity in the hands of its subjective counterpart. It is cultural theory and how it evolves in simultaneity with the world and its social, political, economic and technological development that in effect dictates the forms and expressions that give shape to societies, nations and identities. The function of narrative whether as text, visual arts, film, architecture, dance and other creative expressions of the self, is to tell a story. And every moment of every living being can be told in a story. History too is a story and though in the past it focused mostly on the grand deeds of the European nations, with postcolonialism new stories began to emerge, revealing a world of diversity and deconstructing traditional views of the shaping of the past and the power relations involved. However, this new approach to the historical, cultural and political dialectic was achieved through the effect of the postcolonial narrative which used Western forms and structures, such as the novel and the English language, to achieve its aim. This appropriation of language and form resulted in an inversion of power relations as a cultural metaphor. For the purpose of such a debate, the present dissertation focuses on the two novels by Roy and Desai and is divided into three main sections each of which deals with one approach to the thesis. The first chapter contains the historical approach, in the second I discuss postcolonial theory and the third analyses the relation between anthropology and fiction.
O objectivo principal deste projecto é de analisar como através dos romances The God of Small Things (1997) de Arundhati Roy e The Inheritance of Loss (2006) de Kiran Desai é possível construir uma ideia da Índia e da identidade cultural Indiana. O desenvolvimento desta teoria implica a análise e o estudo de três aspectos fundamentais para o conhecimento mais aprofundado de uma nação, a sua cultura, e as suas pessoas. São estes a história nacional, a identidade e a sua representação cultural através da produção artística, da qual as narrativas fazem parte. Os processos históricos são primordiais como chave para o desenrolar das circunstâncias presentes e fundamentais para a construção de uma identidade nacional com um sentido do colectivo. No entanto, percepções do passado mudam consoante as tendências filosóficas e ideológicas que as nações atravessam, colocando a objetividade histórica à mercê da sua contraparte subjectiva. Portanto, é a evolução da teoria cultural em sintonia com o desenvolvimento social, político, económico e tecnológico do mundo que determina as formas e expressões que definem as sociedades, as nações e as identidades. A função da narrativa enquanto texto, artes visuais, filme, arquitectura, dança ou outra manifestação cultural criativa, é o contar de uma história. A disciplina de história também conta uma história. E embora no passado a história ocidental focasse principalmente os grandes acontecimentos das nações Europeias, com o pós-colonialismo novas histórias surgiram revelando a importância de um mundo de diversidade, servindo para desconstruir visões estáticas da história e das relações de poder. Esta nova abordagem à dialética histórica, cultural e política foi conseguida através do efeito das narrativas pós-coloniais que fizeram uso de formas e estruturas ocidentais como o romance e a língua inglesa para atingir os seus objectivos e alcançar um público mais amplo. A apropriação da língua e da forma resultou numa inversão de poderes transformando-a em metáfora cultural. Este debate foca-se nos dois romances de Roy e Desai e está repartido por três secções principais, onde em cada uma é desenvolvido um dos ângulos de abordagem desta tese. O primeiro capítulo contém uma abordagem histórica, o segundo é uma discussão da teoria póscolonial e no terceiro é analisada a relação entre a antropologia e a ficção.

In A Proper Marriage (1954), Martha Quest wants to ‘break the nightmare of repetition’ that has shaped the twentieth century — the seemly unending cycle of patriarchy, nationalism, war, colonialism, and rigid political ideologies. In The Golden Notebook (1962), Lessing enacts this disruption through an experimental crossing of genres, documenting, as if fulfilling Virginia Woolf’s wish in Professions for Women (1931), the ‘sexual lives of women’ in the context of collective histories. Through her combination of fiction, documentary material, political theory, and memoir, Lessing offers a nuanced reading of the connections between state violence, sexual hierarchies, and political crises. Using textual hybridity to resist closed formal and political structures that reinscribe authority, Lessing writes women as central narrators and subjects of twentieth-century politics and history, subverting the boundaries of gender and genre. However, Lessing’s radical textual and political project is not a singular one. This chapter considers new ways of reading Lessing’s text alongside works by Virginia Woolf, Muriel Rukeyser, Theresa Hak Kyung Cha, Arundhati Roy, and Claudia Rankine, arguing that the The Golden Notebook is not only better understood within these networks, but is pivotal for understanding the formal and political possibilities of hybridity in the hands of women writers.