Articles de revues sur le sujet « Caste – india – fiction »

Caste is a stigma in Indian society and has hampered its growth. Because of this, a section of society has perpetually dictated the lower castes. The upper caste has tormented Dalits economically and socially for primary needs such as water, an essential need for both humans and animals. The upper castes have forbidden the right to water to a lower caste. The upper classes felt that a touch of Dalit would contaminate the water. If a Dalit happened to trod into a pond, the Indian priest had to sanctify the defiled water with a yajna. This situation led to many heart-rending casualties. This paper will investigate how the denial of even the fundamental right to water has rendered trouble in the lives of Dalits in India. Though the Dalit leaders had launched Satyagraha for Dalits to use a public tank in Maharashtra, the upper caste Hindus banned, the lower caste Hindus' access to water bodies. The present study will shed light on water issues, specifically in Dalit literature by non-Dalit writers. Do upper caste Hindus still keep separate water bodies for themselves? To what degree have progressive writers displayed it in their writings?

Mulk Raj Anand was a revolutionary writer of the twentieth century India who changed the mode of writing and thinking in the field of Indian fiction writing. The novelists before him, who had written fiction, wrote the fictional side of life which were ideal and romantic in nature. There were a smaller number of issues of the society. Mulk Raj Anand’s writing brought revolutionary change in the field of fiction writing. He wrote the novels for the sake of untouchables and the poor. He raised the issues of casteism, capitalism, feudalism, colonialism and imperialism through his novels. In Untouchable, he has attacked one of the worst social evils of the Indian society which was ignored by the previous writers and that is blot on Indian society, culture and tradition that has colonized eighty five percent people of Indian society. This sensibility has ruined creativity of Indian people. Casteism and untouchability are the blots on the face of humanity. Anand seems fighting for the liberty, equality and justice of the untouchables and the poor. He appealed for the basic human rights and needs in the newly emerging civil structure of colonial and post-independence India. He had the opinion among all the fundamental rights that human dignity is the highest. Bakha, the leading character, had the resistance in the mind but he could not express it due to the fear of his caste. Bakha is a metaphor for all the untouchables of India.

Kachru (1965, 1966) has presented a detailed analysis of the idiosyncratic vocabulary items of Indian English (hereafter IE). He observes that “in India an idiom of English has developed which is Indian in the sense that there are formal and contextual exponents of Indianness in such writing, and the defining-context of such idiom is Indian setting” (1965:396). To illustrate how IE has become culture bound in India, he mentions many formations, such as confusion of caste, dung wash, saltgiver, rape-sister, etc., drawn from IE fiction, and calls them Indianisms.

Aravind Adiga, a Man Booker Prize winner, aims at depicting a realistic picture of Indian society along with its root cause of evil. He attempts to bring the dark side of India over the ‘shining India’. He criticised the moral decadence and lack of basic principles among Indians. In The White Tiger and Last Man in Tower he portrays the power game in metropolis like; Delhi and Mumbai. This paper studies the socio-political realities of Indian society through the lens of power politics. Adiga makes an effort to showcase the experiences which underprivileged Indian people go through their entire lives. This paper also describes how Adiga depicts socio-cultural encounters in India; especially in power-politics, the Caste system, and master-servant society. It demonstrates the colossal fight between the common man and the dominating political issues such as the caste system, democracy and justice. The research depicts the miscarriage of justice, corruption and other alarming issues of contemporary Indian society. Adiga spotlights modern India by comparing India of darkness and India of light. Adiga’s work of fiction unveils the dark web of politics behind the frame of globalisation and development.

AbstractThis paper analyses the situation of Untouchable / Dalit people in India through intersecting literature and social realities. It focuses on the most relevant and pioneering literary works of colonial and postcolonial times and how these landmarks of fiction function as a mimetic expression of everyday life. Then, the main objective is 1) to give an overview of the representation of untouchability and its evolution into the Dalit consciousness within the interrelated contexts of literature and real life; and 2) to demonstrate that in much less than a century India has witnessed astonishing changes as far as the social stratification of caste-gender is concerned. Keywords: untouchability, Dalit identity, pioneering Dalit literature, gender-caste discrimination ResumenEste artículo analiza la situación de los/as intocables o Dalits en India, interrelacionando realidades literarias y sociales. Se examinan las obras literarias pioneras de la etapa colonial y postcolonial y cómo éstos textos de ficción mimetizan la realidad diaria. Así, el objetivo principal es 1) exponer cómo se ha representado la intocabilidad y cuál ha sido su evolución hasta la formación de la consciencia Dalit, en el contexto literario y social; y 2) demostrar que en menos de un siglo se han producido asombrosos cambios en lo que se refiere a la categoría social de casta-género. Palabras clave: intocabilidad, identidad Dalit, literatura pionera Dalit, discriminación de género-casta.

These lines are more appropriate to the present day. It’s a time when India is emerging as economic power, globalized culture and trends but still there lies an abominable and harrowing portrait of caste system behind this glittering appearance. It is so appalling that despite of 69 years of freedom from the clutches of imperialism, we are not yet free from our own social vices of stigmatizing the people belonging to the so called “lower classes”. It’s the harsh reality of our society that even in this 21th century there are some people called “Dalits or Untouchables”, who face discrimination, violence, and oppression from the higher castes or traditional upper classes particularly in access of jobs (works), education, health care, property and marriages etc. They are discriminated socially, economically, even in the matter of religion also. This paper intends to throw some light on the sordid saga of Dalit’s plight and their frequent subjection to oppression, silence to violence and marginalization. Their voice was suppressed so long, their rights has been violated, they are denied to access to land and forced to work in degrading conditions, also they are abused by police and upper- caste society routinely. Though things have changed with the flow of time but still dalits are suffering in many ways, which will be highlighted in this paper with the help of some fiction in Indian literature.

Abstract: One can see the primary difference between man and woman on the basis of their gender. This biasness depicts the biased mentality of men and their dominating society. It is seen in Indian English Drama that Gender consciousness is one of the most burning and dominating issue that Indian dramatists aim to reflect in their plays. After six decades of post - colonial account of Indian English fiction, we get that a wide-ranging range of playwrights have emerged concentrating consciousness on a huge figure of marvelous concerns whether economic, political, spiritual, and social. These playwrights confronted three corresponding periods of human experience. As we know that there is a large number of playwrights who emerged and focused on the burning issues of India. Among those Vijay Dhondopant Tendulkar is such a playwrights who not only see the social evils but also depicted on literary canvas as it should be. Tendulkar (1928 - 2008) is a foremost and televisio’s prominent Indian playwright. He wrote for movie and television. Besides these, he is a legendary essayist, radical columnist, and social interpreter too, chiefly in Marathi language. As we have me ntioned earlie r t hat Tendulakar has experie nced the problem, need and necessities of Indian societ y. In thi s way it can’t be argued that the most of Tendulkar’s plays derived motivation from real - life happenings orsocial disorders which helped him to provide a clear estimate of the punitive genuineness

Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.

Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.

The adaptation of evolving technology in Indian filmmaking has been a process of embracing it as a valuable tool rather than perceiving it as an alien imposition from formerly colonized nations. Developments in telecommunications since 1995 have profoundly impacted filmmaking in India, from the technology employed to the evolution of non-fiction storytelling. In an environment where mainstream journalism faces challenges and grassroots media gradually gains viewership on digital platforms, immersive journalism can enhance civic participation by providing a heightened sense of 'immersion' and 'presence' compared to traditional two-dimensional formats. This paper examines 360-degree immersive journalism videos produced by ElseVR, a non-fiction subsidiary of Mumbai-based Memesys Cultural Lab, a pioneer in mixed-reality filmmaking in India. During the first wave of VR immersive non-fiction, ElseVR released app-based quarterly magazines featuring 360 video documentaries. These films not only offered narrative experiences but also encouraged viewers to assume various perspectives while watching them. Utilizing Nash's (2022) concepts for interpreting first-person experiences in VR documentaries, this study employs the positions of tourist, encounter, and witness to analyze three immersive journalistic documentaries using ElseVR's technology: Nishtha Jain's Submerged (2016), Naomi Shah and Pourush Turel's Caste is Not a Rumour (2017), and Faiza Khan's When Land Is Lost, Do We Eat Coal (2016). Each position provides insight into the experience of entering unfamiliar spaces, as interest, curiosity, and the VR environment’s affordances give rise to a multi-sensory experience where the positions of tourist, encounter, and witness uniquely intersect. In India, where digital and smartphone penetration varies significantly, the potential for widespread adoption of such technology remains uncertain. However, the intersections between journalism, civic engagement, and technology in ElseVR's documentaries are noteworthy. By avoiding a technologically deterministic perspective, a heightened understanding of VR technology's role in journalism from non-Western environments could enhance civic participation and encourage reevaluating emerging media practices in the Global South.

The struggle for Indian independence spanned nearly a century and was an epic endeavor. The winds of change that swept across the Indian subcontinent after the 'Sepoy' Mutiny in 1857 left lasting imprints on the political and social landscape. The Indian nation had to overcome centuries of lethargy, transcend religious, caste, and provincial divisions, and move forward on the path of progress. This transformation occurred with the onset of the Gandhian movement, which disrupted established political and social norms, introducing innovative ideas and methods. Mahatma Gandhi's relentless pursuit of freedom marked significant milestones such as the non-violent non-cooperation movement of 1920-22, the civil disobedience movement of 1930-31, and the Quit India movement of 1942. The non-violent non-cooperation movement triggered an unparalleled awakening, shifting Indian nationalism from a "middle-class movement" to a widespread emotional movement. An exploration of Nahal's fiction reveals his alignment with the humanistic tradition pioneered by Anand in the thirties and carried forward by Bhabani Bhattacharya and Kamala Markandaya in the fifties and sixties. Nahal's themes encompass tradition versus Westernization, spousal relationships, internationalism, East-West interactions, satire on anglicized Indians, the three phases of India's epic struggle for freedom, the partition of India into India and Muslim Pakistan, and the resulting agony for millions on both sides of the border.

Munshi Premchand, the pen name of Dhanpat Rai Srivastav was an Indian writer famous for his writings in modern Hindustani Literature. He was known to be a founding father of social-based fiction in Hindi and Urdu. His writings were about socio-economic conflict that prevailed in Indian Subcontinent during his period. This paper focuses on double marginalization and power politics that exist in Premchand’s Thakur’s Well. Marginalization is a theory about an individual or a group of people who were pushed to the edge and ignored or relegated by dominated aristocratic individual or group. It also discussed how the female protogonist doubly marginalized based on Caste-based discrimination and gender bias that dwell in India. Power Politic is a term used to describe the people of higher classs and financially well-to-do people superintendence over vulnerable and proletariat people. The terms double marginalization and power politics has a unique and vital accommodation in this story Premchand’s Thakur’s Well.

Human Rights” are those rights which belong to an individual as a consequence of being a human being. It is birth right inherent in all the individuals irrespective of their caste, creed, religion, sex and nationality. Human Rights, essential for all round development of the personality of the individual in society and therefore, ought to be protected and be made available to all individuals. Literature has substantially contributed to the protection of human rights. Literature can inspire us to change our world and give us the comfort, hope, passion and strength that we need in order to fight to create a better future for us. The literary creation such novels, short-stories etc. are the mirror of society. The novelists of Indian writing in English are keenly aware of the fundamental incongruities which life and world are confronting us in day to day life. The heroes of R.K. Narayan present the ironies of life and the heroines expose the deprivation of common housewives who are denied equal rights in their day to day life. Mulk Raj Anand is a great humanist and his prime concern is human predicament. Manohar Malgoankar presents the pathetic life of the labourers of tea-plantation of Assam. Kamla Markandeya highlights pitiable conditions of peasants of India. Anita Desai shows the denial of social justice to women. Khuswant Singh and Salman Rushdie draw attention towards sexual abuse of children. Thus, literature carries the human experience which reaches the heart of those who have been treated improperly by denial of basic human rights.

The commented translation of a chapter from the Chāṅgiā rukh (Against the Night) autobiography (2002) by Balbir Madhopuri, a renowned Indian writer, poet, translator, journalist, and social activist, brings forward episodes from the life of Dalit inhabitants of a Punjab village in the 1960–1970s. Following the school of hard knocks of his childhood in the chamar quarter of Madhopur, a village in Jalandhar district, Balbir Madhopuri managed to receive a good education and take to literature. He has authored 14 books, including three volumes of poetry, translated 36 pieces of world literary classics into Punjabi, his mother language, and edited 44 books in Punjabi. In 2014, he was awarded the Translation Prize from India’s Sahitya Academy for his contribution to the development and promotion of Punjabi. His new fiction novel Miṭṭī bol paī (Earth Has Spoken, 2020) focuses on the struggle of downtrodden Punjabis for their human rights and the ad-dharam movement in the North of India in the 1920–1940s. Narrating his autobiography, Balbir Madhopuri shares memories, thoughts, and emotions from childhood and youth days that determined his motivations to struggle against poverty, deprivation, and injustice. The chapter Tikḍe šīše kī vyathā (The Tale of the Cracked Mirror [Madhopuri, 2010]) tells readers about the everyday life of Madhopur, complicated relationships between the village inhabitants, as well as about the destinies of low-caste Punjabis. Memories of joys and sorrows, hopes and fears of the childhood years go side by side with Balbir Madhopuri’s reflections on social oppression and caste inequality that remain in contemporary India’s society.

The commented translation of a chapter from the Chāṅgiā rukh (Against the Night) autobiography (2002) by Balbir Madhopuri, a renowned Indian writer, poet, translator, journalist, and social activist, brings forward episodes from the life of Dalit inhabitants of a Punjab village in the 1960–1970s (Pic. 1, 2, 3). Following the school of hard knocks of his childhood in the chamar quarter of Madhopur, a village in Jalandhar district, Balbir Madhopuri managed to receive a good education and take to literature. He has authored 14 books including three volumes of poetry, translated 36 pieces of world literary classics into Punjabi, his mother language, and edited 44 books in Punjabi. In 2014, he was awarded the Translation Prize from India’s Sahitya Academy for his contribution to the development and promotion of Punjabi. His new fiction novel Miṭṭī bol paī (Earth Has Spoken, 2020) focuses on the struggle of downtrodden Punjabis for their human rights and the ad-dharam movement in the North of India in the 1920–1940s. This novel brought him a prestigious international award for excellence in Punjabi fiction, the Dhahan Prize, in 2021. Narrating his autobiography, Balbir Madhopuri shares memories, thoughts, and emotions from childhood and youth days that determined his motivations to struggle against poverty, deprivation, and injustice. The first of the two translated chapters, Dillī ke lie ravāngī (Departure for Delhi [Madhopuri, 2010], describes the atmosphere of the 1980s — the times of an undeclared terrorist war in Punjab when Sikh secessionists struggled for establishing an independent Khalistan state in India. Looting, raping, killing, setting off bombs in buses and trains, and taking civilian hostages became a sad reality that forced many Punjabis to leave their homes forever. In the final chapter of the book, Kirāyedārī kī lānat (Being a Tenant), Balbir Madhopuri reflects on the issues of social oppression and caste inequality that remain in the contemporary society and tells readers about the most difficult initial period of his life in India’s cosmopolitan capital.

Sea of Poppies is a historical novel based on human being's survive and fulfilment of dream. The novel is divided into three main parts, first one is land, second one is river and third one is sea, in which the whole novel is chronologically weave with the fulfilment of dream. The chief character in this novel is Deeti, a village married woman of India, who dreamed to travel in an ample vessel, quenched her desire in an unprecedented situation. One day, she saw a big ship sailing on the ocean, which she had never seen earlier even in her dream. Sea of Poppies is a meditation in the guise of a novel, but such is the author's meticulousness in matters of research, and so firm is his grasp of the unexplored underbelly of the British Empire. Ghosh is the author of ten highly acclaimed works of fiction and non-fiction which include the booker- prize shortlisted Sea of Poppies. The novel, Sea of Poppies, told the history of Indian society, opened in 1838, on the eve of first opium war, the novel divided into three parts, Land, Water and Sea. The first part narrated the condition of the protagonist that made able to reach near the ship. The first part also described the economic and social states of the Indian society. The second part invited the characters to join the ship and being ready for their voyage to abroad. The third part, allowed the characters to sail for their new life in Mauritius. Sea of Poppies, shows the chronicle of dreams through the eyes of an Indian village woman, named Deeti, in a different circumstances. The novel depicted the nascent desire of female protagonist, to fulfill her dream. She lived her life as a common Indian house lady, and left her village in an unpredicted situation that visualized the 19th and 20th century’s condition of Indian society. The novel, breaks the doors of caste description and colonialism, and reveals the new way of life, seeking freedom in a different condition.

Abstract: Women in India have had a challenging time developing in a male subjugated society, class and caste systems. But within time, women have become educated, emancipated and independent. In the era of globalization and change, Women are no longer confined to the walls of a house. They have become cognizant of the need to be modern and new woman. The image of woman in literature in recent decades as presented by Indian English writers is different from that past. The journey of women smashing the stereotypical roles and stepping ahead towards modernity and ‘new woman’ has been depicted by several Chick Lit writers in their writings. Being a Subgenre of Chick Lit, Indian Chick Lit is a genre of fiction written for and advertised to young women, particularly solitary and employed women in their twenties and thirties. This new genre has appeared as a different tendency especially for the young independent employed women who are struggling hard to find a space for themselves in the twenty first century. This paper highlights the journey of women from stereotypical roles towards modernity. It elucidates how the protagonists in Indian Chick Lit novels smash the stereotypes of self-sacrificing and self-effacing roles of women discussing the novels Piece of Cake by Swati Kaushal and and Salaam, Paris by Kavita Daswani. These leading characters of selected Indian chick lit novels are at great pains to get themselves free from the stereotypical and traditional roles

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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The present article explores the complex trap of identity as depicted in Meena Kandasamy’s The Gypsy Goddess and Urmila Pawar’s Motherwit. It aims to elucidate the multifaceted dimensions of identity, specifically focusing on social, cultural, and gender aspects within the confines of marginalised communities in postcolonial India. The Gypsy Goddess, Kandasamy’s poignant narrative, is centred around the 1968 Kilvenmani massacre of landless Dalit laborers, while Motherwit, Pawar’s candid autobiographical account, examines the trials and tribulations of Dalit women’s lives in Maharashtra. By juxtaposing these two works, the article seeks to investigate the interplay between collective historical narratives and individual lived experiences, and their implications on the formation of identity. The article explicates how Kandasamy’s novel employs a kaleidoscope of narrative techniques to articulate the voice of the oppressed, while Pawar’s work explores the intersectionality of caste and gender through her personal journey. This paper employs various theoretical frameworks, such as postcolonial theory, feminist theory, and subaltern studies, to unravel the nuances of the characters’ identity crises and quests for self-actualization amidst sociopolitical upheaval. Moreover, the article scrutinizes the role of memory and storytelling as pivotal components in the construction and preservation of identity. The juxtaposition of Kandasamy’s historical fiction with Pawar’s autobiographical narrative enables the reader to discern the ways in which individual and collective identities are continuously shaped and reshaped through the prism of historical events and personal experiences. The article aims at illuminating the intricate pathways through which identity is negotiated within marginalized communities, and asserts the significance of literature as a potent tool in amplifying marginalized voices and fostering a more inclusive understanding of human identity.

Use of mythological tales for creating revisionist literature is contemporary approach of the modern Indian writers. Some famous works of literature, based on mythology are written by writers like Devdutt Pattanaik, Amish Tripathi, Chitra Banerjee Divakaruni, Volga, Kevin Missal, SarathKomarraju and Krishna Udayashankar. These writers try to reinterpret mythological characters like Shiva, Rama, Draupadi, Amba, Krishna etc. Kavita Kane is one of the popular woman writers of India who renders Indian mythological texts and writes novels. Her ficitons are known for portrayals of the mythical characters who are less discussed. She picks up marginalized women characters from the mythical literature of India and retells their stories. She raises isssues of identity, individuality, gender, caste, femininity and patriarchy in her fictional works. In her novels, Karna’s Wife and Fisher Queen’s Dynasty, Kane has woven issues of gender and caste. Both of them are based on the Mahabharata. She retells the stories of Uruvi, Karna’s wife and Satyavati, Shantanu’s wife from their perspectives and explore their struggles against discriminations based on gender and caste. The novelist depicts these women characters with their courage, confidence, individuality and power to resist the class or caste-based violence. As modern literary works, their intersectionality is evident and they can be examined keeping in mind multidisciplinary approach. The present article examines caste consciousness as expressed by Kane in her Karna’s Wife and Fisher Queen’s Dynasty.

Indian author of English literature Mulk Raj Anand (12 December 1905 – 28 September 2004) was known for his portrayal of the lower castes in traditional Indian culture. Along with R. K. Narayan, Ahmad Ali, and Raja Rao, he was one of the first India-based authors in English to attain a global audience, making him a pioneer of Indo-Anglian fiction. Anand's books and short tales are considered contemporary Indian English literary classics due to their insightful depiction of downtrodden people and thoughtful examination of poverty, exploitation, and disaster.

This paper is a descriptive work and is an attempt to study Jim Corbett’s approach, as an Indo-Anglian writer, towards the theme of caste related subjugation in the colonial era. Jim Corbett is one of the few Anglo-Indian writers, who through his non-fictional narrative reveals minute observation of the customs, traditions and rituals of Indian culture. Short stories based on real-life characters offer, as one of the major themes, a glimpse of the suffering and subjugation and taboo associated with the life of the untouchables. He understands the role of caste system in India and is aware of its relevance in shaping the destiny of a person. Corbett’s concern is not only class and caste conscious, but also socially relevant and the delineation of the anguish of the underprivileged is poignant and significant. He is sensitive towards their struggle and gives the message of equality and humanity. He is a moralist, who preaches the lesson of humanity.

Gurdial Singh’s first novel Marhi Da Deeva (1964) is one of his most famous novels. Retrospectively, it is considered the first dalit novel in Punjabi. It has acquired the status of a classic in Punjabi fiction. Apart from being translated in many Indian languages, it has been translated in Russian; the version selling ten lac copies. The movie version of the novel, produced in Hindi and Punjabi by National Film Development Corporation was critically much acclaimed. It bagged the best regional feature film award in 1990. Jagseer, the protagonist of the novel, was hailed as the first dalit hero in Punjabi fiction. Here, one is tempted to place the novel within the corpus of dalit writings. But, as is argues here, the text does not support such a reading. Whatever comes up during the course of the novel is only authentic experience. This authenticity is best understood if we compare this novel with Samskara. One readily realizes that Samskara lacks any direct negotiation with the reality. It is rather a distanced vision. The novelist ends up talking about himself rather than the society. Marhi Da Deeva, however, stems from direct experience.

Rasipuram Krishnaswami Iyer Narayanaswami, a well-known South Indian writer, creator of a fictional town ‘Malgudi” developed a sense of interest among middle- class people in India to read short stories in English. He is the spell caster of encompassing Indianism into English literature through his writings. This celebrated Indian novelist brought an aroma of Southern Indian Coffee into English and indianized it through his fictional stories which connect with real time situations of a common Indian. This distinguished writer captivated readers through his meticulous mastery over foreign language on Indian soil. His short stories are the best paradigm to understand Indian English that is entangled with beliefs, traditions, culture to an extent superstitions existed in the routes of Indian lives. Contrast between the lives of Western and Indians’ lives in various aspects are illustrated through his short stories and novels. The present paper tries to highlight Indianized contexts into English literature by this outstanding writer. It also attempts to show how characters in the short stories of Narayan are related to Karmic philosophy.

Abha Dawesar’s famous novel Babyji is a real kaleidoscope of themes that touch on political tensions, caste and class issues, school atmosphere, urban life, abuse, marriage, and Indianness, all interlaced with a lesbian story of a sixteen-year-old girl. Published in 2005, the period where in India, homosexuality was still under the veils of criminalization. This essay will analyse the representation of the main character, her early lesbian relationships in adolescence, the experiences of other characters in marriage, and how straight people feel about non-heterosexuality in relation to the chosen literary stance. This article is an effort to critically examine the portrayal of lesbian identity by Dawesar which is far from the theoretical and fictional implications of other Indian as well as Indian diasporic writers. It tries to shed light on the author’s intention to re-examine the societal norms, stratification, class distinction and other factors that press women’s independence, especially their sexual autonomy.

Myths, which are man-made fictions, are denoted by the term "mythology" by anthropologists. These myths, created by the imagination of the people, are the ones that convey the history and values of life to society. In this, religious myths are the lifeblood of a society and a language that expresses thought. Religious myths serve to strengthen the religious beliefs of a race and the social structure of that race. Civilization in social life. Although the culture has developed in many steps, information technology has reached its peak, and the objective changes, the majority of these stories about God, in the subjective sense, stop them at the point of origin of the stories. In Indian social culture, where myths are culturally valuable, each caste uses mythological stories to distinguish themselves from other castes. Based on this, the Devangar people also have their own myths. They live by considering the worship of the Mother Goddess as their cultural discipline. This article examines their social life from a sociological point of view, presenting their mythology and following the worship of the mother goddess and the paternal way of life in their social life.

This study attempts to construe the first-ever coalmine-oriented Bengali fiction from a social, historical, and geographic perspective. Sailjananda Mukhopadhyay wrote Koylakuthi (the coal miners’ office) in 1922, representing Bengal’s coal mines. This study aims to reconstruct the miners’ society from the early 20th Century with narratives from this story and examine the societal challenges and changes a hundred years apart. A comparative study of the mining geo-cultural landscape of the 1920s Bengal and its contemporary counterpart is carried out. Changed geography, technology, and community are observed. And it reveals that areal expansion of the coalfields has increased production, and technological advancement has increased the safety and security of the miner class. However, the labour structure, class and caste hierarchy, and patriarchal mindset have hardly changed.

The God of Small Things, a contemporary Indian Classic by Arundhati Roy is an analysis of the nature of subalternization and its repercussion on the individual and on society as well. The present fictional work is chiefly an interpretation of political misuse, personal relationships, caste and class conflicts, distressing experience of family dispute, broken faith, love, marriage, loss of identity, and marginalization of women as a result of foolish male dominance. K M Pandey remarks:

AbstractThis article is concerned with the role of kinship and kin morality in contexts of work in South Asia. It focuses on the highly ambivalent nature of kin morality when mobilised outside the household and the family. Ethnographic evidence from a small-scale industry in Tamilnadu, South India, shows how employers frequently invoke the morality of kinship and caste in an attempt to secure a reliable and compliant labour force and to avoid overt class confrontation. However, employers’ efforts to promote kinship—real or fictive—and its morality in the workplace appear inadequate in the face of high labour turnover and frequently collapsing employer-worker relationships in small-scale industries. While employers’ repeated use of kin ideology succeeds in silencing the workers on the shop floor, it is much less effective in securing a stable labour force in the long run. The argument put forward here points to the limits of kin morality and questions its effectiveness in informal contexts of labour employment. The discussion sheds new light on the role of caste and kinship in recruiting, retaining and disciplining labour in India's informal economy.

Meena Kandasamy’s debut novel The Gypsy Goddess tackles the plight of a community of Dalit agricultural labourers who live and work in inhuman conditions, coping with the unrelenting oppression and heartbreaking atrocities inflicted upon them by their ruthless upper-caste landlords in the southern Indian state of Tamil Nadu. In particular, this novel revolves around the historical massacre that took place in the village of Kilvenmani on Christmas Day, 1968. The aim of this article will be to analyse the different ways in which Kandasamy, so far known as a critically acclaimed poet, uses the novel as a literary genre, together with some well-known postmodern theories and strategies, in order to disclose the shortcomings of traditional linear plot-driven novels, criticize the exoticism so often displayed in contemporary Indian fiction, unearth the “other” side of official Indian history, dig up the traumatic story of an entire Dalit community’s fight for freedom, and give voice to those who were for so long relegated to silence, invisibility, and oblivion. As this analysis will make clear, the experimental nature of this novel allows Kandasamy to confront readers with an unpalatable reality beyond the capacity of the conventional realist novel.

This paper discusses the influence of Dr. B.R. Ambedkar’s teachings on community development in India, as depicted in Arundhati Roy’s novel The God of Small Things The novel highlights the struggle of the lower-caste population against the rigid social hierarchy prevalent in India, and how Ambedkar’s ideology of social equality and empowerment has impacted the community’s development. Arundhati Roy’s novel The God of Small Things presents a powerful depiction of the impact of Ambedkar’s teachings on community development in India. The novel portrays the lives of twin siblings, Rahel and Estha, who grow up in Ayemenem, a fictional town in Kerala. Their family, the Ipes, is part of the Syrian Christian community, which occupies a higher position in the social hierarchy than the local Dalits. However, the novel also portrays the Dalits’ plight, highlighting the systemic oppression they face, which is deeply entrenched in the social and cultural fabric of the region. This paper analyses the novel’s portrayal of Ambedkar’s ideas and their real-world implications, identifying different ways in which Ambedkar’s teachings have inspired collective action and mobilization, paving the way for more just and equitable social systems.

In Samit Basu’s SF novel Chosen Spirits (2020), a character offers a cosmology of power within India’s capital city: ‘Delhi has always been a city of seven walls […] You could guess you’d crashed into your wall before, when you couldn’t go further, but now the walls can be mapped and measured, the tools exist.’ Written against the backdrop of India’s discriminatory Citizenship Amendment Act (CAA) and the protests against it in 2019–20, Chosen Spirits extrapolates a near-future Delhi in which, despite the relative success of the protests, the stark inequalities of caste, class and religion have been reinforced by changes to the city’s geography, and state surveillance increasingly precludes the possibility of working for change. Reading the novel alongside other recent works of speculative fiction set in Delhi, this article analyses Basu’s walled city, and those of other contemporary Indian SF writers, against the shifting borders, boundaries and barricades of the city, exploring their potential as sites of radical activism.

Dalit massacres in India are an understudied area of research, with even fewer works on the female experiences of the massacres. As part of a larger study that aims to create a spatial archive of the female survivors of selected Dalit massacres, this article maps the female survivors of the Marichjhapi massacre (1979). Being the first prototype of the forthcoming archive, a thorough analysis of the massacre is performed here using feminist geocriticism and digital cartography. The introduction gives the background to the massacre and foregrounds the absence of female narratives surrounding the massacre. The next section addresses the gaps in understanding the relation between space, caste, and gender in Dalit scholarship. The methodology section explains the steps involved in a feminist geocritical and digital cartographical approach, which is a combination of both qualitative and quantitative research. The prototype of the cartographic visualizations using QGIS software constitutes the next section, along with a visualization of the results and analysis of the data. Dalit female experiences are foregrounded through a close reading of selected texts, both fictional and non-fictional. This will eventually result in the creation of an archive of female historiography by locating the survivors at the site of the massacre.

Gitanjali Shree, a sensitive storyteller who has a deep grip on all the concerns of women's life, has written and given public expression by keeping the stories-interactions of women's nature, psychology and struggle in the center from household to family to community and region. In the fiction of Gitanjali Shree, those traditional issues of Indian society have been raised which seem alive in every situation. Especially communal frenzy, discrimination of caste, oppression and exploitation of women, all the more experienced realities related to middle class life, environmental movements and changes as well as a series of stories full of contemporary sense. Abstract in Hindi Language: नारी जीवन के सभी सरोकारों के प्रति गहन पकड़ रखने वाली संवेदनशील कथाकार गीतांजलि श्री ने घर-परिवार से लेकर समुदाय और क्षेत्र विशेष तक में नारी के स्वभाव, मनोविज्ञान और संघर्ष की कथाओं-अन्तर्कथाओं को केन्द्र में रखकर उन्होंने जो लिखा और सार्वजनिक अभिव्यक्ति दी। गीतांजलि श्री के कथा साहित्य में भारतीय समाज के उन परंपरागत मुद्दों को उठाया गया है जो हर हाल में जीवन्त लगते हैं। खासकर साम्प्रदायिक उन्माद, जात-पात का भेद, नारी प्रताड़ना एवं शोषण, मध्यवर्गीय जीवन जीने वालों से जुड़े तमाम और भोगे हुए यथार्थ, परिवेशीय हलचलों एवं परिवर्तनों के साथ ही समसामयिक बोध से भरे कथ्यों का श्रृंखलाबद्ध समावेश है। Keywords: संवेदना, सरहद, महागाथा, समाधि, कैफियत, मुफलिसी।

In present scenario, peace is usually taken for granted by many people without going into the details of what made it (Peace) the most cherished ideal of almost all the societies. Its importance has only been realized by the humanity after going through a dreadful phase of history, full of violence, wars, massacres, genocide and so on. Moreover, the meaning of peace is misunderstood by many as mere absence of war; rather it has a wider connotation. Peace is an absence of violent conflicts of all kinds including war, riot, massacre, or simply physical attack. Sometimes, violence is rooted in the very structure of society, which is termed as "Structural Violence". This structural violence can take many shapes such as caste- based violence, class- based violence, ethnic violence, racism, communalism, colonialism etc. The elimination of structural violence necessitates the creation of a just and democratic society. Structural violence emerges out of the unequal and unjust structure of the society. So to eradicate structural violence, a society needs to employ the tool of social justice. This paper is an attempt to understand this structural violence ingrained in Indian social fabric during the independence and the post independence period and to hear its resonance in the novels of Bhabani Bhattacharya. She is an outstanding Indian English writer, globally known brilliant scholar was a socialist and reformist to the core. Almost all his novels are remarkably known as social fables, as contemporary Indian society is very authentically and sensitively represented in his fiction. Bhattacharya was having a profound knowledge of contemporary (from 1945 to 1975) social crisis, as the topic of his research thesis was also related to Indian socio-political perspectives of the time period. Through his novels he proclaims, when justice is denied to any particular person or community or sections of society, the reverse circumstances leads to anarchic situations and the society directly or indirectly becomes responsible for converting its people to social rebels, a threat to national peace and security. Therefore, through his novels, he motivates the countrymen to establish equality and maintain social justice to promote the feelings of love and harmony in different sections of society. To inspire the countrymen for setting up an equal and just social order, he frequently emphasise them to follow the teachings of great ancient minds. He quotes Gandhiji's socialism, marxism, Tagore’s humanism, Nehru’s rationalism, liberalism and practical approach, to create peace and harmony in the society and ensure social justice.

This article examines Bhudeb Mukhopadhyaya’s Swapnolabdho Bharatbarsher Itihas ( History of India Revealed in a Dream) as a speculative dream narrative within the wider context of literary practices of colonial Bengal in the nineteenth century. History is a contested terrain within the colonial domain and intersects with pedagogy, politics, and technology in myriad ways. History in the text is also refracted through identitarian religious, gender, and caste prisms. We investigate Bhudeb’s text within these sites, arguing that the text represents a contradictory colonial modernity that negotiates the historical self through the speculative possibility of a dream.

Dalit literature is now a distinct stream of the literature of India that has contributed an altogether fresh experience, ‘new sensitivity and vocabulary, a different protagonist, an alternate vision, and new chemistry of suffering and revolt. The singular identity of Dalit literature is exhibited through its rebellious collective characters, the Dalit writers’ distinct experiences, their use of folk language, and their selfless commitment to the liberation of human beings and alone all the influence of B. R. Ambedkar’s thought. The unique feature of this literature is its collective aspects because the experiences described in Dalit literature are social so they are termed as collective and character, despite, the expressions of individuals appearing to be that of a group. The stories in the novels discussed here show that Bama has depicted well the real sufferings of Dalit people who suffer endlessly throughout their lives at the hands of upper caste people. Ultimately, her consciousness finds that the redemption of Dalits from all these tortures and exploitations can be had only by proper education and thereby attaining high financial status.

Jerry Pinto is one of India’s most prominent names in literature; equally appropriated and applauded by staunch critics and connoisseurs. Apart from being an author, he has worked as a journalist and as a faculty member in his native city of Mumbai. Apart from his fiction, non-fiction, poems and memoir, he has written books for children and has put together some very well-received anthologies. Jerry Pinto’s works have won him a plethora of accolades. His first novel, Em and the Big Hoom (2012) was awarded India’s highest honour from the Academy of Letters, the Sahitya Akademi, for a novel in English; the Windham-Campbell Prize supervised by the Beinecke Library, Yale, USA; the Hindu ‘Lit for Life’ Award, and the Crossword Award for fiction. Helen: the Life and Times of a Bollywood H-Bomb (2006) won the National Award for the Best Book on Cinema. His translations from Marathi of Mallika Amar Sheikh’s autobiography I Want to Destroy Myself was shortlisted for the Crossword Award for Fiction. Furthermore, his graphic novel in collaboration with Garima Gupta was shortlisted for the Crossword Award for Children’s Fiction. His translation of the Dalit writer Baburao Bagul’s When I Hid My Caste won the Fiction Prize at the Bangalore Literary Festival in 2018 and his novel Murder in Mahim (2017) won the Valley of Words Prize, and was shortlisted for the Crossword Award for Fiction and the Mumbai Academy of the Moving Image Prize.But there was a time when he feared rejection. In this interview Jerry Pinto touches on various issues, revealing the story of how he became a writer, a career option which wasn’t then recognised as a very reliable job prospect in India. He also discusses his social engagements and his connection with the city of his birth, Mumbai.

Intersectionality has been recognized and widely taken by interdisciplinary fields that include Cultural studies, American studies, and Media studies to demonstrate a range of social issues. It focuses on the experiences of people in a different social and political context. The intersectional framework confronts significant social division axes that include race, class, gender, and disability that function together and influence each other. These social axes operate the power structures of a particular society that can cause inequality and discrimination. In literary studies, women's representation is no more confined to European and American academic writings. Within the feminist framework, the South Asian fiction writers also demonstrate a feminist approach in their works. Pakistani authors have indicated religion's exploitation as one of the central intersectional tropes in their literary work. Bapsi Sidhwa is one of the prominent feminist voices from Pakistan in diasporic English Literature. One of her novels, Water (2006), is based on Deepa Mehta's award-winning film, explores the life of the marginal and subaltern Hindu widows in India. The novel provides an insight into the intersectional nature of the Indian Hindu widows in a patriarchal society of a subcontinent where different power domains hold and impose dominant hierarchies. The paper's objective is to highlight the intersection of religion, gender, caste and politics against the backdrop of the Indian anti-colonial movement. It shows how power relations can manipulate cultural norms and use religion as a powerful tool to establish its hegemonic control over these marginalized widows who suffer as silent victims.

Caste affiliated surnames are very common in India. In fact, they convey a lot of caste stereotypes about the bearer. This is a subtle way of practicing caste based identities and related discriminations. The current study is a content analysis of the surnames of leading fictional characters in Hindi TV serials and movies to see if TV and cinema propagate caste stereotypes through surnames of their fictional characters. The result shows excessive use of upper caste affiliated surnames used both in TV serials and cinema while surnames affiliated to lower castes have negligible presence in these programmes.

Social movements are a part of the curriculum of Anthropology and Sociology in higher education institutions in India. Traditionally, these courses are taught via snippets of social movements accompanied by theoretical texts and there is little scope for individual teachers to change course content. While these texts are valuable, I found students struggled to make initial engagement with many of the prescribed texts and often became tense or anxious about the material. Students viewed social movements with antipathy and as a hindrance to stability, influenced by the political narratives and media representation of social movements as a disruption to solidarity. They often struggled to connect to the themes and issues of the Social Movement course, positioned within their own prisms of religion, caste, class, gender, and political sympathies. In this article, I vindicate the use of Animal Farm by George Orwell as a heuristic tool, taught alongside standard texts, to help students grasp the nature of social movements in theory and praxis. Teaching and learning social movements require a certain amount of empathy and openness to untangle students from their own biases. Turning to fiction can help because students can connect and become invested in the story, after which point parallels to the academic texts or real-life social movements can be drawn. Set in the animal world, Animal Farm is a parable that is equidistant to human orientations and consequently makes an excellent starting point to distance students from their preconceived ideas. This in turn helps students develop a reflexive understanding from which to engage with the core texts.

ElseVR, the non-fiction offshoot of Memesys Cultural Lab, based in Mumbai India is one of the pioneering filmmaking labs working with mixed reality in India. It has been releasing 360 video documentaries as a VR app based quarterly magazine that demands spectatorship as well as engagement by way of the subjects it chooses to talk about. In a country where severe inequities of access are present, with digital and smartphone penetration being reasonably fragmented across the country, the feasibility and acceptance of such technology on a larger level remains to be seen. What is interesting however, are the intersections between civic engagement and technology in ElseVR’s documentaries. The documentaries are not only narrative in nature, but also employ and encourage the spectator to imagine different positions while viewing them. Using the concepts proposed by Nash (2022), in making sense of first-person experience in VR documentary, the researcher employs the position of a tourist, encounter, and witness (2022:108) while viewing three documentaries using ElseVR’s technology as a medium. The three films are Nishtha Jain’s Submerged (2016); Faiza Khan’s When Land Is Lost, Do We Eat Coal (2016) and Naomi Shah and Pourush Turel’s Caste is Not a Rumour (2017). Each position leads to an understanding of the experience of what it is like to enter a space that is not one’s own. Along with the researcher’s own interpretation, and an analysis of the supporting material on the documentaries (such as publications by humanitarian organizations on the topic of the documentaries), news media reports highlighting the issues, and online community conversation received from viewers on Else VR’s Facebook and Youtube channels was conducted to make sense of the overall engagement with the documentaries besides a first-person experience. Considerations of interest and inquisitiveness towards the content, and the affordances offered by the VR environment gave way to a multi-sensory experience where the positions of tourist, encounter and witness overlapped with no conscious intent. Going back and forth with the virtual community conversation around the films and the researcher’s experience of immersion with the documentaries, it was a heightened awareness of VR technology’s role in documentary filmmaking in non-Western environments. Avoiding a technologically determinist gaze, it was the larger purpose of VR journalism that stood out to bring to light stories that deserve more civic engagement.

Indian English Fiction has mostly portrayed Dalit characters from a humanist perspective. Manu Joseph’s debut novel Serious Men (2010) departs from such a convention by deploying sexist language to render subversive authority to the Dalit protagonist, Ayyan Mani. While Serious Men (2010) revises the passive depiction of Dalits in Indian English Fiction through its experimental usage of language, its subversion is undermined by its representation of women and lower-caste politics. This article is interested in exploring the intersections between language politics and the politics of caste in the novel, since it seems subversive in expressing the rant of an angry Dalit man, yet it also nevertheless reflects the overt sexualization of urban, upper-caste women. By interrogating the novel’s politics of Dalit representation and its critical reception, the article argues how despite satirizing casteist attitudes through the eyes of the Dalit protagonist, the novel inevitably undermines its critique of caste structures through its prejudiced portrayal of women and caste politics.

According to narrative theories, fiction and non-fiction literature are text types that can manifest themselves in different mediums. Cinema is a medium that imitates both text types for a screenplay. However, when a non-fiction work is fictionalised for its cinematic representation, it invites urgent and special attention on the social front. This study investigates the sexual, social and economic typecasting of Indian surrogates through the lens of Indian cinema. The landscape of the media texts used for this study ranges from two prevalent practicing modes of surrogacy in India—the traditional form of surrogacy and the gestational form of surrogacy. The traditional form of surrogacy in this article is represented in the movies Doosri Dulhan (1983) and Chori Chori Chupke Chupke (2001), whereas the movie Mimi (2021) represents the gestational mode of surrogacy. These media texts often represent overtly fictionalised accounts of Indian surrogacy and considerably tamper the authenticated contents of Indian white paper documents on surrogacy. Anindita Majumdar talks about the ‘prostitute surrogate’, a type-casted representation of Indian surrogates, where the character of surrogates is that of sexually provocative women or prostitutes. For scrutinising this prototypical representation of surrogates, the methodological framework of this paper borrows arguments from Aristotle’s theory of mimesis and Seymour Chatman’s narrative theory. The article also advocates a nascent coinage—surrogacy literacy, a literary drive to keep a check on how surrogates are represented in films dealing with sensitive technology like assisted reproduction. The possible changes in such representation due to the new surrogacy law in India are also vital considerations of the article.

Centred on a famous canonical Hindi fiction by Munshi Premchand (1880–1936), Godān (1936), which means ‘a gift of a cow’ and on contemporary Dalit fiction by Roop Narain Sonkar, Sūardān (2010), which means ‘a gift of a pig’, the present article discusses how the hegemonic Indian myths are destroyed and recreated as a subversive response to caste ideology. Godān, which can have a parallel to a popular Hindu myth of a ritual of gifting a cow which, as it is believed, guarantees moka (salvation) after mtyu (death), is condemned by Sūardān, which, in its turn, backs its assault by presenting a parallel myth of pig. Thus, the present article illustrates how the canonical literary texts are revisionized and re-appropriated by the vidrh writers using adaption techniques similar to the postcolonial strategies of ‘writing back’.

In the era of globalization, migration has become inevitable for progress and sustenance. The writers of diaspora enable a reader to peep into the culture of both –the hostland and the homeland. The theory of Intersectionality has been propounded by Kimberlé Crenshaw. Intersectionality emphasises on the dynamics of black and coloured women that have often been overlooked in feminist movements and theory. Much like Crenshaw, Collins argues that cultural patterns of oppression are not only interrelated, but are bound together and influenced by the intersectional systems of society, such as race, gender, class, and ethnicity.Theories of Intersectionality can be used to explore and understand how different forms of social inequality overlap and interact with each other to create multifaceted minority identities within social groups. It is a concept that is astonishingly relevant in the world in which we live today, with politics and discourses on race, class, sexuality, to name a few, being hugely enhanced and nuanced by the incorporation of an emphasis on intersectional thinking. Indian society as a conglomeration of cultures, communities with diverse ethnicities, religions, ideologies, castes, sub-castes, languages, customs and traditions is an apotheosis of pulsating plurality.The paper focuses to validate the universal applicability of the feminist theory of Intersectionality, by contextualizing the Indian socio-cultural milieu within its framework in the selected novelsviz. Can You Hear the NightbirdCall,The Hero’s Walk and Tamarind Memwritten by Anita Rau Badami, an Indo-Canadian Diaspora writer. Anita Rau Badami portrays “disremembered subjects” (Foreman 316) like widows who remain alienated from the larger social space. In her portrayal of Chinna, the widowed aunt in Tamarind Mem , she presents an image of a woman who finds meaning in her life despite her social invisibility. Shantamma in The Hero’s Walk had suffered a stroke in her sleep, at the age of eighty-two. The protagonist Nirmala had led her life conditioned to follow the path of obedience and subservience.Sharanjeet Kaur in Can you Hear the Nightbird Call? longs to free herself from her family’s penury which had deprived her of a happy childhood, education and comforts in life.The study focuses on perspectives on Intersectionality in Indian society as well as Intersectionality as a heuristic, based on the constructivism inherent in the selected novels.

Purpose: Postmodernism is a general movement that developed in the late 20th century across the arts, philosophy, art, architecture, and criticism, marking a disappearance from modernism. The term has been more often used to describe a historical age which followed after modernity. Postmodernism is a period of uprising which refers to ups and downs in each walk of life and the different disciplines of knowledge be it literary work, philosophy, or science. Postmodern literature revokes some modern literary methods by transforming them. Historiographic Metafiction is a contradictory term that consists of two opposite categories such as history and metafiction. It is having dual representations because such writings reflect the reality as well as fictional position. An attempt is made by the Post-colonial Indian English writers to liberate Indian English literature from the foreign bondage. Historical events such as agitations, migration, movements, refugees, colonial hegemony; social-economic and cultural problems like encounter of the east-west, caste, and class became the concerns of the writers. Design/Methodology/Approach: This paper is prepared by making a study of Primary source and accumulating secondary data from educational websites and written publications. This qualitative research is carried out by studying and interpreting the existing knowledge on the subject. The paper tries to analyze the historiographic metafictional features as depicted in The Shadow Lines by Amitav Ghosh. Findings/Result: After reviewing many articles, books and thesis it has been found that the paper aims to study Amitav Ghosh's notions like ‟ Nationhood and National distinctiveness in "The Shadow Lines” as a reminiscence novel, highlights a few historical happenings like the Second World War, the Swadeshi movement, and the Partition of India in 1947 and communal uprisings in Bangladesh and India. The ardent nationalism upheld by the protagonist that is the narrator’s grandmother is questioned and re-analysed. Ghosh searches for appropriateness of traditional identity such as nation and nationalism. Originality/Value: This paper makes a study of the major character Thamma with special reference to her concerns of Nationhood and Nationality. The identity of Thamma in the novel is given prominence being a woman she stands for her thoughts and identifies her as an individual who faced tragedy but still who had the courage to raise her voice till the end. Paper Type: Analytical Research paper.

Exoticism has been an exciting field of study for national literature scholars. The prefixExo, in a general sense, includes all that lies outside the totality of an individual’squotidian events, everything that is not included in the usual "Mental Tonality." For the West, the antediluvian exotic Eastern world or the Orient has always been characterized by pleasure-seeking, temporal and material interest. At the same time, home is considered as the manifestation of rationality. The picture of the West in the mind ofthe East isalso similar. Mulk Raj Anand’s Bildungsroman, Across the Black Waters, is an extended work of fiction that gives an intriguingly different view of the Great War in twentieth-century Anglophone Indian Literature. The novel, in essence, is only episodically concerned with the scenery of the battlefield, which are at most times restricted to the bounds of the narrative line.Lalu’s pioneering venture across the ocean from his traditional caste-governed village is a way to perceivethe conflicts of culture and various origins of exploitation. By reversing the conventional use of the word exotic, this paper aims to study the undepicted experiences of Lalu, which leads him to an Eastern journey of political self-education and self-discovery in the exotic West.