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Journal articles on the topic 'West Indian Folk literature'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Barman, Banani. "A Historiography of Rajbangshi Literature." RESEARCH HUB International Multidisciplinary Research Journal 10, no. 4 (April 30, 2023): 10–16. http://dx.doi.org/10.53573/rhimrj.2023.v10n04.002.

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The rich cultural past of the Rajbangshi people is reflected in the historiography of Rajbangshi literature, which offers an engrossing tale. This paper intends to investigate the historical growth and evolution of Rajbangshi literature, highlighting the various socio-cultural influences that have influenced its course.The Rajbangshi people are an indigenous group that is mostly found in the Indian states of West Bengal, Bihar, Assam, and Bangladesh. They have their own distinctive language and culture. Poetry, folk ballads, folk tales, dramas, and novels are just a few of the many genres represented in their literature, all of which offer insights into their social, historical, and political realities. The development of Rajbangshi literature and its interaction with local, linguistic, and colonial factors are critically examined in this historiography. It explores the early oral traditions and folklore idioms that formed the basis for Rajbangshi literary productions. The paper studies the contributions of significant Rajbangshi writers and focuses on their ideological viewpoints, stylistic advances, and subject interests. The study also examines how Rajbangshi literature promotes cultural identity, questions societal norms, and addresses current concerns including immigration, language assimilation, and land rights. It also looks at how important literary movements, including the Bengal Renaissance, impacted the growth of Rajbangshi literature and its interaction with more general literary currents in the area. It aims to contribute to the greater conversation on underrepresented literary traditions by highlighting the socio-cultural importance of Rajbangshi literature within the broader framework of regional literature. This study aims to promote awareness and acknowledgment for this unique literary legacy by providing light on the historical and cultural aspects of Rajbangshi literature. It also emphasises how crucial it is to keep Rajbangshi literature alive and well for future generations in order to maintain the literary landscape's overall richness.

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2

Chakrabarty, Premangshu, and Rishita Biswas. "Buddhism in Agrarian Society of Rural Bengal: Perspectives of Belief Systems with a Focus on Ritual and Deities." SMARATUNGGA: JURNAL OF EDUCATION AND BUDDHIST STUDIES 3, no. 2 (October 1, 2023): 77–92. http://dx.doi.org/10.53417/sjebs.v3i2.110.

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Buddhism was the State Religion of Bengal at least for more than four hundred years between mid of 8th century and 12th century during the Pala reign in Bengal. In the 2011 Indian census, the percentage of Buddhists in West Bengal was 0.31% while in Bangladesh less than 1% of the total population is now a follower of Buddhism. Most of the Buddhists were converted to Islam during the Sultanate rule in Bengal while Hinduism silently took over many of their shrines and deities. This paper is an attempt to revisit the cultural landscape of early Buddhism in Bengal along with a focus on the elements of Buddhist culture in folk life applying cultural geographical methodologies and examining the presence of Buddhist rituals and deities in agrarian society in sublime form. A literature review was followed by extensive fieldwork during festivities of the shrines of Hindu deities having a connection with early Buddhism of Bengal. Along with participant observation during ritualistic practices, interviews, and focus group discussion methods have been applied involving stakeholders to obtain qualitative data for analysis. The results reveal the various manifestations of the interplay between the process of universalization and parochialization in the dynamism of the evolving belief system of an apparently Non-Buddhist folk society of the present day, the root of the culture of which was exclusively Buddhist.

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3

Biswas, Manosanta. "Caste and Socio-cultural Mobility in West Bengal: A Hybrid Cultural Elocution of Matua Reforms Movement." Contemporary Voice of Dalit 10, no. 2 (August 7, 2018): 232–43. http://dx.doi.org/10.1177/2455328x18787568.

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Anthropologists and social historians have considered the caste system to be the most unique feature of Indian social organization. In traditional Bengali Hindu Society, the Namasudras, an untouchable caste, were numerically large but economically deprived and socially discriminated against by the higher castes. Under the leadership of Harichand Thakur (1812–1878) and his son Guruchand Thakur (1847–1937), the ‘Matua’ religious sect developed in the late nineteenth century in eastern part of Bengal to meet certain social needs of the upwardly mobile peasant community of the Namasudras who gained solidarity and self-confidence through the help of the Matua socio-religious identities. The real significance of the Matua sect lies in the fact that a downtrodden community sought to set up an alternative religious conception in an oppositional form and in resistance to the ideology which assigns an independent identity to the downtrodden for their uplift in the high caste elite-dominated society and a reworking of the relation of power within local society which they believed would lead to all-round human development. In this article, I would like to show the evidences which would give an undertaking that the Matua socio-cultural reform movement is continuing against the orthodox scriptural and Brahmanical rituals, customs and culture and resulting in an alternative hybrid cultural identity by reflecting on their own indigenous oral literatures and folk culture which are very much humanitarian, liberal, progressive and rational in outlook.

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4

Morris, Mervyn. "Making West Indian Literature." Anthurium A Caribbean Studies Journal 10, no. 2 (November 20, 2013): 9. http://dx.doi.org/10.33596/anth.237.

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5

Bruner, David K., and Lloyd W. Brown. "West Indian Poetry." World Literature Today 59, no. 1 (1985): 144. http://dx.doi.org/10.2307/40140780.

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6

King, Bruce, and Judy S. J. Stone. "Theatre: Studies in West Indian Literature." World Literature Today 69, no. 2 (1995): 416. http://dx.doi.org/10.2307/40151322.

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7

Berry, M. Victoria. "Exploring the Potential Contributions of Amerindians to West Indian Folk Medicine." Southeastern Geographer 45, no. 2 (2005): 239–50. http://dx.doi.org/10.1353/sgo.2005.0020.

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8

Basu, Raj Sekhar. "Bhojpuri folk songs of Indians in Fiji." Studies in People's History 5, no. 1 (May 11, 2018): 92–103. http://dx.doi.org/10.1177/2348448918759874.

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The export of Indian indentured labour to British oversea colonies containing sugar, cotton and indigo plantations began around mid-nineteenth century. One of the destinations was Fiji, the British island colony in the Pacific, to which the Indian labourers, men and women, mainly went from East UP and West Bihar where Bhojpuri was spoken. While archival documents can help us trace the fortunes of individuals, their own feelings and sentiments are best preserved in their songs orally carried from one mouth to another for decades. The earlier songs contain mournful dirges over separation, the misery of those whom they left behind and their own afflictions in Fiji’s harsh white-owned plantations. As the migrations ceased, the Fiji–Indian people’s interest shifted to restoring their connection with Hinduism and its customs, and this has become more prominent in later folk songs. The gender problem (women outnumbered by men) was severe earlier but has now eased as with the passage of generations, the sex ratio has normalised.

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9

KNOX-SHAW, P. H. "The West Indian Vathek." Essays in Criticism XLIII, no. 4 (1993): 284–307. http://dx.doi.org/10.1093/eic/xliii.4.284.

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10

Wolf, Manfred. "The Two Cultures in West Indian Literature." World Literature Today 65, no. 1 (1991): 25. http://dx.doi.org/10.2307/40146114.

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11

Breiner, Laurence A. "Is there still a West Indian literature?" World Literature Written in English 26, no. 1 (March 1986): 140–50. http://dx.doi.org/10.1080/17449858608588967.

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12

Mason, David, and J. Edward Chamberlin. "West Indian Discoveries." Hudson Review 47, no. 1 (1994): 163. http://dx.doi.org/10.2307/3852175.

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13

Alexander, Clifford L. "West Indian Primer." Callaloo, no. 39 (1989): 270. http://dx.doi.org/10.2307/2931557.

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14

Paquet, Sandra Pouchet. "Documents of West Indian History: Telling a West Indian Story." Callaloo 20, no. 4 (1997): 764–76. http://dx.doi.org/10.1353/cal.1997.0082.

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15

Nelson, Karlene Saundria. "A Caribbean Visionary and His Literary Collection, Karlene Saundria Nelson." Alexandria: The Journal of National and International Library and Information Issues 31, no. 1-3 (April 2021): 42–50. http://dx.doi.org/10.1177/09557490211060409.

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The voices of West Indian writers in the 1950s changed the landscape for Literature emerging out of the West Indies. These powerful literary voices were a means of creating and recording a facet of West Indian history and cultural heritage. West Indian writers wrote their stories through their own eyes. John Hearne was one of the most eloquent voices among them. He became a known voice in the West Indian literary world, using his recognition to facilitate the indigenous West Indian Literature genre’s development. He was also a prominent Jamaican political and social commentator. The John Hearne archive not only produced an important historical picture of the development of the West Indian Literature genre, but West Indian political history, and changes in the cultural and social fabric of the West Indian society, with special emphasis on Jamaica. This paper aims to present this archive as a fundamental body of primary resources for historical research.

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16

Jaimini, Ms Rajni, and Dr Priya Raghav. "Folk Literature and Social Space: Interdependences and Correlations." International Journal of English Literature and Social Sciences 7, no. 2 (2022): 187–92. http://dx.doi.org/10.22161/ijels.72.24.

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Art is not a mirror held up to reality, but a hammer with which to shape it.” this dictum attributed to famous playwright Bertolt Brecht as quoted by Bleeker et al., (2019) sums up the interdependence and correlation between art and literature and society. The world has never been a singular entity. There have always been groups that lived a powerful, privileged existence and it is their experience that has passed down the generations as literature, as the core narrative of human existence at a given time. For long ‘Literature’ did not include ‘Folk’ or their culture as was relegated to the peripheries of academic discourse as belonging to the savage, subaltern people. However, it is now increasingly being recognised as an archive of vernacular knowledge systems and a great contributor to the social and cultural development of the people. Both social space and folk literature affect and mould each other. What happens in social space gets reflected in folk literature and what folk literature depicts becomes part of social space. Saang as a form of folk performance tradition has been the source of or a defining influence on the various forms of Folk performance traditions of North India. It has been called “a north Indian Folk Opera” by Vatuk, V. P., & Vatuk, S. (1967) because the dialogues between characters are sung. Taking it as a representative form of North Indian folk performative tradition, my paper attempts to analyse issues of representation of culture, society and morality on the Saang stage. The paper, would focus on some selected Saangs of Lakhmi Chand (1905-1945), as compiled by Sharma, P. Chand. (2006) in Lakhmi Chand Granthavali. He is known as the greatest exponent of the Saang form and often referred to as the Shakespeare of North India. His Saangs invariably represent the values and experiences that formed the core of the society of his times. He has taken tales from history, myth and local legends as the basis for his performances. The present paper analyses the content of some Saangs composed and performed by Lakhmi Chand to analyse the knotty question of representation of culture and morality and how one can see reflected in the tales performed by the Saangi, the major social concerns of the times.

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17

King, John, Michael Gilkes, and Robert D. Hamner. "The West Indian Novel." Modern Language Review 80, no. 1 (January 1985): 151. http://dx.doi.org/10.2307/3729406.

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18

Sabin, Margery. "Review: Anthologies of Modern Indian Literature." College English 68, no. 1 (September 1, 2005): 90–106. http://dx.doi.org/10.58680/ce20054102.

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Reviewed are The Vintage Book of Modern Indian Literature, edited by Amit Chaudhuri; Mirrorwork: Fifty Years of Indian Writing, 1947–1997, edited by Salman Rushdie and Elizabeth West; and Women Writing in India, Vol. 2: The Twentieth Century, edited by K. Lalita and Susie Tharu.

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19

Sprouse, Keith Alan, and Laurence A. Breiner. "An Introduction to West Indian Poetry." World Literature Today 73, no. 3 (1999): 577. http://dx.doi.org/10.2307/40155013.

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20

Breiner, Laurence A. ""Mabrak": A Disappearing West Indian Classic?" Journal of Commonwealth Literature 34, no. 1 (March 1999): 27–43. http://dx.doi.org/10.1177/002198949903400103.

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21

Alter, Joseph S. "Somatic Nationalism: Indian Wrestling and Militant Hinduism." Modern Asian Studies 28, no. 3 (July 1994): 557–88. http://dx.doi.org/10.1017/s0026749x00011860.

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In the West it is commonplace to regard sport as either an extracurricular form of leisure, or else as a business enterprise. Games and contests of all kinds are a form of distraction; and for some a very lucrative form at that (Smith 1978). Almost by definition sports direct our attention away from ‘real life’ to some form of fantasy world where there is high drama but little by way of the material or ideological substance of productive, pragmatic and ‘rational’ labor (cf. Rojek 1985; Simon 1985). Hand in hand with such a notion of marginal utility goes a folk attitude that sport is meaningless by virtue of its being purely and simply fun, as though pleasure and purpose are somehow antithetical.

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22

Thieme, John, and Silvio Torres-Saillant. "Caribbean Poetics: Towards an Aesthetic of West Indian Literature." Modern Language Review 94, no. 4 (October 1999): 1088. http://dx.doi.org/10.2307/3737254.

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23

Rohlehr, Gordon. "Calypso, Literature and West Indian Cricket: Era of Dominance." Anthurium A Caribbean Studies Journal 6, no. 1 (January 1, 2008): 4. http://dx.doi.org/10.33596/anth.111.

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24

Waters, Harold A., and Silvio Torres-Saillant. "Caribbean Poetics: Toward an Aesthetic of West Indian Literature." World Literature Today 72, no. 2 (1998): 436. http://dx.doi.org/10.2307/40153946.

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25

Cirillo, Nancy Rockmore. "Historical Thought and Literary Representation in West Indian Literature." MFS Modern Fiction Studies 45, no. 2 (1999): 493–96. http://dx.doi.org/10.1353/mfs.1999.0032.

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26

Mclean, Evadne. "Caribbean Quarterly: Contribution To West Indian Literature (1949–1978)." Caribbean Quarterly 44, no. 3-4 (September 1998): 1–14. http://dx.doi.org/10.1080/00086495.1998.11829584.

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27

Yelin, Louise, and Nana Wilson-Tagoe. "Historical Thought and Literary Representation in West Indian Literature." South Atlantic Review 65, no. 3 (2000): 146. http://dx.doi.org/10.2307/3201559.

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28

Dabydeen, David, and Nana Wilson‐Tagoe. "Selected themes in West Indian literature: An annotated bibliography." Third World Quarterly 9, no. 3 (July 1987): 921–60. http://dx.doi.org/10.1080/01436598708420008.

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29

Kumar, Rakesh, Varsha Rani, and Ayushi Ayushi. "Exploring Local Colour in Pandit Lakhmi Chand’s Folk Literature." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 059–63. http://dx.doi.org/10.22161/ijels.85.11.

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This research paper explores the concept of local colour which refers to the unique cultural practices, traditions, and customs of a particular region that distinguish it from other regions. The objective of this paper is to explore Indian philosophy and socio-cultural ethics through Haryanvi folklore, where an ideal society is imagined as an ordinary lifestyle. It highlights a ‘utopian’ vision through the importance of the local colour of Haryana and other regions to ensure that our cultural heritage is preserved for future generations. Moreover, its focus is on Pandit Lakhmi Chand’s use of local colour in a fictional presentation that reflects the customs, traditions, and beliefs and their preservation for generations for the people of Haryana. Through this examination, the paper offers insight into how local colour can enrich and enliven literature and how it can be used to reflect and celebrate the diversity of the human experience.

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30

ATTRI, SHALINI. "Folk Theater and History: Constructing Indian Identity through The Khyal of Amar Singh Rathore." Journal of Indian and Asian Studies 01, no. 01 (January 2020): 2050004. http://dx.doi.org/10.1142/s2717541320500047.

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Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The present research focuses on the Marwari folk Drama The Khyal of Amar Singh Rathoretranslated by Cecil Thomas Ault and folk performing art Khyal that constitutes meanings and symbols. Khyal, a popular folk dramatic art, is especially linked to martial and romantic ballads of Rajputana. It is indicative of the gap between past and present with spontaneity and originality and is seen as a transmissible entity with reference to the performing arts in the northern region of India. There is an exploration of the dynamics of the origin of the folk narrative of Amar Singh Rathore, a source of Rajasthani culture and identity thus paving way for the other folk narratives that form the pan-Indian identity. The folk literature draws cartographies of a nation or region giving a historical depth and continuity. The dissemination of historical folk anecdotes and their retellings are plausibly a move towards identification. The historical imagination and socio-cultural memory, mostly drawn from Rajasthani rural landscape, influences and reshapes history and culture of Rajasthan, thereby making it a historical artifact providing abidance and insights into folklore as a heritage/national construct. The research reflects and projects the values, feelings, ideas and identity of the groups which identify with and perform this art. Another dimension of the present study formulates an understanding of the forms and style of Khyal folk theater of Rajasthan and how The Khyal of Amar Singh Rathore communicates and travels through linguistic and cultural boundaries constructing new spatial cartographies serving as evidence of connectivity and consistencies.

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31

Savory, Elaine. "Derek Walcott and West Indian Drama (review)." Research in African Literatures 31, no. 1 (2000): 202–5. http://dx.doi.org/10.1353/ral.2000.0034.

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32

Adhikary, Chanchal. "Oral Literature and Performing Arts of a Marginalized Community: The Chain of West Bengal." Contemporary Voice of Dalit 10, no. 1 (January 29, 2018): 28–47. http://dx.doi.org/10.1177/2455328x17744626.

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In this article, an attempt has been made to collect and examine the folk and oral traditions of the Chain community of West Bengal in an ethnohistorical context. These included marriage songs, Gambhira songs, rhymes, lullabies, Jhumur, Alkap, riddles, etc. All have been collected through field work.

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33

Akai, Joanne. "Creole… English: West Indian Writing as Translation." TTR : traduction, terminologie, rédaction 10, no. 1 (February 27, 2007): 165–95. http://dx.doi.org/10.7202/037283ar.

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Abstract Creole... English: West Indian Writing as Translation — This paper looks at the use of language(s) in Indo-Caribbean (i.e., West Indian of East Indian descent) writings. West Indian writers are Creole, in every sense of the term: born in (former) British colonies, they have a hybrid culture and a hybrid language. They operate from within a polylectal Creole language-culture continuum which offers them a wide and varied linguistic range (Creole to Standard English) and an extended cultural base ("primitive" oral culture to anglicized written culture). Indo-Caribbean writers, however, have access, not only to the Creole language-culture continuum, but also to the pre-colonial cultural, linguistic and religious traditions of their ancestors who came from India in the 19th century. But if Creole is the mother-tongue of all West Indians, English is the only language they know to read and write. West Indian literature in English constitutes an intricately woven textile of Creole and English : a hybrid writing made possible through the translation of Creole experience into English; oral Creole culture into written English; the Creole language into the English language. In fact, West Indian literature in English can be considered self-translation, for which the presence of the author as the translator gives authority to the hybridized product, a true extract of the West Indian writer and his Caribbean language-culture.

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34

Donnell, Alison. "West Indian Literature and Federation: Imaginative Accord and Uneven Realities." Small Axe: A Caribbean Journal of Criticism 24, no. 1 (March 1, 2020): 78–86. http://dx.doi.org/10.1215/07990537-8190601.

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This essay explores the particular importance conferred on literary expression within a wide range of writings dedicated to understanding and responding to the project of the West Indies Federation. Although federation was conceived, and briefly achieved, as a political expression of community building and people making, the consistent practice of referencing and invoking literary works across these writings reveals the project’s central and necessary investment in the reimagination of identities and belongings. Yet while the literary expression of a West Indian sensibility helped to articulate the political consciousness necessary for change, it could not finally overcome the sources of tension in the region. Importantly, too, the same West Indian writers who symbolized the collective belonging to the region, so cherished by federation, were themselves embroiled in the discordant realities of economic markets and measures and caught between national and international belongings.

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35

Shukla, Dipti. "Impact of Colonization on Indian English Literature." Integrated Journal for Research in Arts and Humanities 3, no. 1 (January 19, 2023): 46–51. http://dx.doi.org/10.55544/ijrah.3.1.9.

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India, along with the contemporary and colonial history of the postcolonial culture, is seen to offer the study's a rich site that has intertextuality and influence. Furthermore, British imperialism is far more pragmatic as compared to several colonial powers. The motivation is not evangelical but economic. Under the emergence of Orientalism”, India was the first Nation to lay literary impact on the West, such an equation was then reversed during colonial intervention. The changes made by the British in the society of India appeared to be at the top. Where few critics of India are only focused on denouncing and acclaiming the effect of West, Indian writers discriminating response gives complex instances of intertextuality amd influence being reception forms. The literary movement has been shaped by values and essential beliefs of traditional attitude, culture, social life and politics of local people. Authority of British along with the Indian subcontinent ruling power halted for more than two hundred years. Furthermore, it turns simple when you need to have an understanding of the English Literature history being related to the English people life. This attitude across the educational, social, and cultural way of living. The movement of the British colony in the given subcontinent has the testimonial impact of the literature on the people social life style. The current paper of research lays the study on the Effect of the Colonial Rule on The English Literature in India in details.

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36

Gupta, Ankita. "East-West Romanticisms: Understanding Indian Romanticism through Chhayavad - A Study in Comparative Indian Literature." Journal of Advanced Research in English & Education 03, no. 02 (August 1, 2018): 1–5. http://dx.doi.org/10.24321/2456.4370.201804.

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37

Hawthorne, Evelyn J., and Reinhard W. Sander. "The Trinidad Awakening: West Indian Literature of the Nineteen-Thirties." World Literature Today 63, no. 3 (1989): 522. http://dx.doi.org/10.2307/40145489.

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38

Breslow, Stephen P., David Dabydeen, and Nana Wilson-Tagoe. "A Reader's Guide to West Indian and Black British Literature." World Literature Today 64, no. 1 (1990): 178. http://dx.doi.org/10.2307/40146049.

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39

Dash, J. Michael. "Historical Thought and Literary Representation in West Indian Literature (review)." Research in African Literatures 31, no. 2 (2000): 221–24. http://dx.doi.org/10.1353/ral.2000.0046.

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40

Selvon, Samuel. "A West Indian Picnic at ‘Hamdon Court’." Wasafiri 34, no. 3 (July 3, 2019): 51–54. http://dx.doi.org/10.1080/02690055.2019.1613014.

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41

Birbalsingh, Frank. "History and the West Indian nation." New West Indian Guide / Nieuwe West-Indische Gids 72, no. 3-4 (January 1, 1998): 283–89. http://dx.doi.org/10.1163/13822373-90002594.

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[First paragraph]The Art of Kamau Brathwaite. STEWART BROWN (ed.). Bridgend, Wales: Seren/Poetry Wales Press, 1995. 275 pp. (Cloth US$ 50.00, Paper US$ 22.95)Atlantic Passages: History, Community, and Language in the Fiction of Sam Selvon. MARK LOOKER. New York: Peter Lang, 1996. x + 243 pp. (Cloth n.p.)Caliban's Curse: George Lamming and the Revisioning of History. SUPRIYA NAIR. Ann Arbor: University of Michigan Press, 1996. viii + 171 pp. (Cloth US$ 34.50)Phyllis Shand Allfrey: A Caribbean Life. LlZABETH PARAVISINI-GEBERT. New Brunswick NJ: Rutgers University Press, 1996. xii + 335 pp. (Cloth US$ 55.00, Paper US$ 18.95)Of the four books to be considered here, those on Brathwaite, Selvon, and Lamming fit snugly together into a natural category of literature that has to do with the emergence of a Creole or African-centered Caribbean culture, and related issues of race, color, class, history, and nationality. The fourth is a biography of Phyllis Shand Allfrey, a white West Indian, who is of an altogether different race, color, and class than from the other three. Yet the four books are linked together by nationality, for Allfrey and the others are all citizens of one region, the English-speaking West Indies, which, as the Federation of the West Indies between 1958 and 1962, formed a single nation.

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42

Campbell, Elaine. "1. The Dichotomized Heroine in West Indian Fiction." Journal of Commonwealth Literature 22, no. 1 (March 1987): 137–43. http://dx.doi.org/10.1177/002198948702200111.

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43

Ameena Banu, S. "இசுலாமியச் சமூகத்தில் ஊடாடும் சாதியப் படிநிலைகளுக்கிடையேயான உட்பூசல்கள் (இசுலாமியப் புதினங்களை முன்வைத்து)." Shanlax International Journal of Tamil Research 5, no. 1 (July 1, 2020): 116–22. http://dx.doi.org/10.34293/tamil.v5i1.3405.

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The Indian entry into Islam is through Arab merchants, Sufis and various settlements. Islam used the classical literary forms of Tamils and folk literature as the main medium for its religious spread. The purpose of this article is to explore the issues of interaction within Islamic societies recorded in novels, contemporary literary forms of Islamic literature that continue to operate on such a historical surface.

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44

Satyanarayana, K. "The political and aesthetic significance of contemporary Dalit literature." Journal of Commonwealth Literature 54, no. 1 (July 21, 2017): 9–24. http://dx.doi.org/10.1177/0021989417718378.

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This article attempts to offer a critique of cultural critic D. R. Nagaraj’s theoretical approach to the analysis of contemporary Dalit literature. According to Nagaraj, contemporary Dalit literature is a literature of decultured Dalits which articulates rights and entitlements in liberal polity. Rejecting claims of a separate aesthetics for Dalit literature, he locates Dalit literary contributions in the broad sphere of Indian culture and argues for a new aesthetics for Indian culture. His aim is to recover from the Indian tradition the civilizational contribution of Dalit writers, such as folk and oral cultural forms. This framework undermines the theoretical innovation and aesthetic significance of contemporary Dalit literature. Proposing Dalit literature as a form of contemporary politics in the sphere of modern Indian literary culture, Marathi Dalit critic and writer Baburao Bagul presents Dalit literature as a modern, written, and Ambedkarite tradition that reconfigured modernity, invented new modes of writing, and imagined Dalit as a generic identity, lived experience, and perspective in modern Indian literary history. Dalit literature is human and democratic, Bagul argues, as it draws on the humanist legacy of Buddha, Christ, Phule, Ambedkar, and also the Western Enlightenment. A reading of some Dalit texts, following the discussion of Bagul, illustrates the limitations of Nagaraj’s approach.

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Spear, Jeffrey L., and Avanthi Meduri. "KNOWING THE DANCER: EAST MEETS WEST." Victorian Literature and Culture 32, no. 2 (September 2004): 435–48. http://dx.doi.org/10.1017/s1060150304000580.

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The clean and the proper (in the sense of incorporated and incorporable) becomes filthy, the sought-after turns into the banished, fascination into shame.—Julia Kristeva,The Powers of HorrorTHE HISTORY WE ARE SKETCHINGis one of boundaries double crossed between India and the West and between periods of the South Asian past. On one level our story is about an historical irony, how late nineteenth-century Orientalism resuscitated the romantic mystique of the eastern dancer in the West just as South Indian dancers were being repressed in their homeland by Indian reformers influenced by western mores. Within that history there is another dynamic that is less about crossing than about shifting boundaries, boundaries between the sacred and the profane and their expression in colonial law. We will be looking at these movements and transformations within the context of current scholarship that is historicizing even those elements of Indian culture conventionally understood to be most ancient and unchanging.

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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘

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Ismond, Patricia. "West Indian literature as an expression of national cultures: The literature of St. Lucia." World Literature Written in English 29, no. 2 (September 1989): 104–15. http://dx.doi.org/10.1080/17449858908589104.

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Ismond, Patricia. "West Indian literature as an expression of national cultures: the literature of St. Lucia." New West Indian Guide / Nieuwe West-Indische Gids 61, no. 1-2 (January 1, 1987): 23–37. http://dx.doi.org/10.1163/13822373-90002054.

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Wade, C. "A Forgotten Forum:The Forum Quarterlyand the Development of West Indian Literature." Caribbean Quarterly 50, no. 3 (September 2004): 63–73. http://dx.doi.org/10.1080/00086495.2004.11672241.

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Irving, Evelyn Uhrhan, and Ian Smart. "Central American Writers of West Indian Origin: A New Hispanic Literature." World Literature Today 59, no. 2 (1985): 250. http://dx.doi.org/10.2307/40141497.

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