Unit 4 Comparative lit. & translation studies.

Hello readers! This blog is a part of my academic journey. The blog is on COMPARATIVE LITERATURE STUDY AND TRANSLATION STUDIES. 

Tejaswini Niranjana

Abstract 

For some time now, the absolute most earnest discussions in contemporary social and scholarly investigations have arisen out of the grieved connection point of poststructuralist hypothesis and verifiable examinations. In its most fundamental definition, the issue is that of articulating extremist political plans inside a deconstructive structure. For a discipline like scholarly investigations, the raison d'être of which is the examination of portrayal, the evaluate of portrayal coming from inside has induced significantly self-reflexive tensions. She starts by addressing what she considers deconstructive analysis' inability to resolve the issue of imperialism, as well as the disregard by interpretation studies to pose inquiries about its own trustworthiness. Contemporary investigates of portrayal have not stretched out themselves with the end result of scrutinizing the possibility of interpretation, of re-introducing etymological significance in interlinguistic moves.

* Key points 

• Situating Translation 

• Translation As Interpellation  

• The Question of History

* Key arguments

The author's motivation to make an unobtrusive start by analyzing the "utilizes" of interpretation. The reexamining of interpretation turns into a significant errand in a setting where it has been utilized since the European Enlightenment to under-compose practices of subjectification, particularly for colonized people groups. Interpretation capacities as a straightforward show of something that as of now exists, albeit the "first" is really created through interpretation. 

* Analysis 

Oddly, interpretation additionally gives a spot in "history" for the colonized. She was, accordingly, examine the congruity of the investigate of historicism to a world going through decolonization, given the getting through nature of Hegelian show of the non-West and the model of teleological history that approves them, a scrutinizing of the model could endorse another act of translation.Another part of post-structuralism that is critical for a reevaluating of interpretation is its study of historicism, which shows the hereditary (looking for a beginning) and teleological (setting a specific end) nature of conventional historiography. An investigate of historicism could show us an approach to deconstructing the "pusillanimous" and "underhanded" Hindus of Mill and Hegel. Her anxiety here isn't, obviously, with the supposed distortion of the "Hindus." Rather, I am attempting to scrutinize the with holding of correspondence and the essentializing of "contrast" (what Johannes Fabian calls a forswearing of coevalness) that allows a cliché development of the other. Ordinarily, interpretation relies upon the Western philosophical thoughts of the real world, portrayal, and information.It is in the context of this crisis that Tejaswini Niranjana's examination of translation as critical practice is made possible. Her analysis seems to amplify and elaborate the possibilities of the claim made by other postcolonial theorists like Gayatri Spivak and Homi Bhabha, as well as feminists such as Jane Gallop and Nancy K. Miller, that deconstruction can be used in politically enabling ways.

 Insisting that a questioning of humanist or Enlightenment models of representation and translation "can underwrite a new practice of translation . . . reinscribing its potential as a strategy of resistance", Niranjana persuasively shows that a critique of presence can be taken to its limits and yet not incapacitate the interventionist critic.

Since it is part of her argument that the problematics of translation and the writing of history are inextricably bound together, She should briefly go over Spivak's main points regarding the "Subaltern historians. 

Their strategic use of post-structuralist ideas may help us see more clearly how the notions of history and translation she wish to reinscribe are not only enabled by the post-colonial critique of historiography but might also further strengthen that critique.

               E.V.RAMAKRISHNAN

*Abstract 

This article analyzes the pretended by interpretation in molding an innovator beautiful reasonableness in a portion of the major abstract customs of India in the 20th century, somewhere in the range of 1950 and 1970. The section will concentrate on models from Bengali, Malayalam and Marathi, to see how such interpretation of present day Western writers were utilized to penetrate the authority of winning abstract sensibilities and poetics modes. Numerous Indian artists, for example, Buddhadeb Bose, Agyeya, Gopalakrishna Adiga, Dilip Chitre and Ayyappa Paniker were additionally interpreters. Interpretation from Africa and Latin America verse assumed a critical part in this period of innovation. Neruda and Parra were broadly converted into India dialects during this stage. In this specific situation, interpretation instituted a basic demonstration of assessment, an imaginative demonstration of mediation, and performative demonstration of legitimation,in advancing a new lovely during the pioneer period of Indian verse. The term 'interpretation ' to propose a scope of social practices, from basic discourse to making of intertextual text. Andre Lefevere's idea of interpretation as reflections/modifying , the part contends that 'rewritings' and 'reflections' found in the 'more subtle type of analysis… ,editorial, historiography , instructing, the assortment of works in collections, the creation of playshare likewise example of interpretation. An exposition on T.S. Eliot in Bengali by Sudhindranayh Dutt, or searing evaluate in Malayalam on the wonderful acts of Vallathol Narayana Menon by Ayyappa Paniker, can likewise depicted as ' translational' composing as they have components of interpretation inserted in them.

* Key points 

• Modernity and Modernism.

• The project of Modernism in India. Literary/ artistic movement . 

• Postcolonial contex. 

• The reception of Western modernist discourses in India. Translation .

•  Indigenous roots/ routes ofmodernity and modernism. Western modernity. 

• The metaphor of the mice. The surreal image .

* Key arguments

• It has been argued that the Idea of a ‘Self-reflection or Self-validating’ literary text, which is central to modernist poetic, is rooted in an ideology of the aesthetic that was complicated with colonialism.

• D.R.Nagaraj has pointed out that as nationalism became the ideology of the nation state. 

• How are we to evaluate the modernisms that emerged in the postcolonial phase in India? Critics such as Simon Gikandi,Susan Friedman, Laura Doyle and Laura Winkiel, and Aparna Dharwadker have argued that Non-Western modernism are not mere derivate versions of European hegemonic practice. 

* Analysis 

The colonial Modernity informed literary and cultural movements, beginning from the reformist movement of the nineteenth century to the modernist movement of the mid-twentieth century.  The term ‘Modernism’ implies a literary/artistic movement that was characterised by experimentation, conscious rejection of the nationalist/ Romantic as well as popular. The pistcolonial context adds a complex political dimension to the aesthetic of Indian Modernism.  The reception of Western modernist discourses in India was mediated by the dynamics of socio-political upheavals related to the formation of the nation state and the realignment of power structures in society. Translation enables us to delineate the complex artistic and ideological undercurrents that shaped the course of modernism in Indian literature. The three representative modernist authors from three separate Indian literary traditions-Sudhindranath Dutta(1901-60) from Bengali, ,B.S.Mardhekar(1909-56) from marathi,and Ayyappa Paniker(1936-2004) from Malayalam. These three authors was bilingual and wrote essay in English as well as their own languages. Bengali emerged in 1930s and continued into the 40s and 50s, Marathi from 1950s to the 60s. Dutta's discussion of Aristotle, Plato, Voltaire, Byron, Mallarmé and Yeats prove his mastery over Western thought.As a modernist poem, "The Camel-Bird' moves beyond the personal by embodying the condition of inertia that a colonised community is condemned to.  B. S. Mardhekar transformed Marathi poetry and its dire dynamics in terms of its vision, form and content. Mardhekar intervened in Marathi literary tradition as an insider who had mastered the insights given by an alien tradition. In 'Mice in the Wet Barrel Died', which became the iconic modernist poem of Marathi. The metaphor of the mice is meant to evoke the morbid and the malevolent in modern life. When this poem was originally published in Marathi, in Abhiruchi, it was met with several disapproving comments, leading to long discussions and even parodies of the poem in Marathi.

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