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They seem to perceive these two different cultures as unrelated entities and tend to disagree over different issues arising from such cross-cultural interactions. It is, thus, the implicit or explicit psychological turbulence of the immigrants as they culturally differ from the natives of host land.
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By depicting the intercultural conflict confronted by many Vietnamese American immigrants in the novel, the novelist stresses their inability to comprehend the host land's cultural values, beliefs, customs, and traditions as they perceive these cultural aspects incompatible for their existence in the present immigrant life in America. Works Cited: 1. Balaev, Michelle. The Nature of Trauma in American Novels. Evanston: Northwestern UP, 2012. 2. Cao, Lan. Monkey Bridge. New York: Penguin, 1997. 3.
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Monkey Bridge. New York: Penguin, 1997. 3. Hall, Stuart. “Cultural studies and its theoretical legacies”. In Cultural Studies.Lawrence Grossberg, Cary Nelson and Paula Treichler (ed.). London: Routledge, 1992. 4. Majaj, L.S. “Arab American Literature and the Politics of Memory”. In Memory and Cultural Politics.A. Singh, J. T. Skerrett, & R.E. Hogon (ed.). Boston, MA: Northeastern University Press, 1996. 5. Said, Edward.Reflections on Exile and Other Essays.
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Cambridge, Mass: Harvard University Press, 2000. 6. Ting-Toomey, S. and Oetzel, J.G. Managing Intercultural Conflict Effectively. Thousand Oaks, CA: Sage, 2001. Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) INTERCULTURAL CONFLICT IN LAN CAO'S MONKEY BRIDGE 74 15 RACIAL DISCRIMINATION IN RICHARD WRIGHT'S NATIVE SON: A STUDY Dr. Sudhir P Mathpati, Assistant Professor & Research Guide, Department of English, Adarsh Mahavidyalaya, Omerga, Dist.
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Osmanabad, MS, India Abstract: The aim of this paper is to provide a systematic study that examines racial discrimination in Richard Wright's Native Son. Racial discrimination is any discrimination against any individual on the basis of their skin color, or racial or ethnic origin. Racism is the belief that it is a primary determinant of human traits and capacities and that racial difference produces an inherent superiority of a particular race.
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The term racism usually denotes race-based prejudice, violence, dislike, discrimination or oppression. As an ideology, racism existed during the 19th century as scientific racism, which attempted to provide a racial classification of humanity. Key words: Race-based prejudice, violence, dislike, discrimination or oppression, suppression, etc. As Aristotle thinks literature is a reflection of life. It is an expression of our experience, and also an expression of our desires, faiths and failings.
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Of course, literature needs to be traded for the sake of reaching mankind. Literature is a sacred instrument. By using it in a proper way, one can combat the forces of ignorance and prejudice and foster national unity and world communion. As literature voices the past, reflects the present and moulds the future, human experiences is obviously reflected in the literary works. American literature is grounded in the experience of black people in the United States.
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Even though African Americans have long claimed an American identity, during most of the United States history, they were not accepted as citizens and were obviously discriminated. As a result, they felt that they were part of America even being outside of it. Racial discrimination is like an alphabet for black authors to start their work of art, as he has visualized it for many a years. He too had had numerous experiences in his life which is in fact seen in his works.
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Richard Wright emerged as a major Black intellectual warrior who was driven by the quest to defend Black humanity against the cultural domination of white supremacist ideas and practices. Moreover, he and others linked imperialism, colonialism and white supremacy, pointing out that the dehumanization and humiliation of Black Americans, Asians and even ethnic Russians were generated by the same global system of domination.
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It was in this way that he began to call for the revolutionary overthrow of global white supremacy and the implementation of scientific socialism and popular democracy on a world scale. Wright had a natural instinct of presenting his native picture through his remarkable works. As a poor black child growing up in the Deep South, Wright suffered poverty, hunger, racism and violence and those experiences later became the central themes of his work.
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He stands as a major literary figure of the 1930s and 40s; his writings are a departure from those of the Harlem Renaissance School. Steeped in the literary naturalism of the Depression era, Wright's works express a realistic and brutal portrayal of white society's oppression of African Americans. Anger and protest served as a catalyst for literature intended to promote social changes by exposing the injustices of racism, economic exploitation and imperialism.
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Through his art, Wright turned the torment of alienation into a voice calling for human solidarity and racial advancement. Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) www.literaryendeavour.org 75 Richard Wright's influence began primarily with the publication of Native Son in 1940. The significance of the novel's publication lay in the new and daringly defiant character of its content and in its adoption by the Book of the Month Club.
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It signaled for the first time since the nineteenth century fugitive slave narratives the willingness of a mainstream reading public to give an ear to an African American writer, even one who appeared unapologetic in his bold and forthright representation of a large segment of African American culture. Wright, through his Native Son, had enormous impact on the direction of the new black literature.
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Without avenues to power, black life was bleak, cut off from the possibilities of fulfillment and threatened by the ever-present hostile world. His novels and essays issued a cry of protest to a white audience that, unless America recognizes its native sons and give them their due; some blacks would rise up and destroy their oppressors. This statement is perhaps too simplistic a rendering of Wright's works.
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He analyses by penetrating the effects of social deprivation upon the black man's personality and he uses the elements of protest. The Native Son moves with the intensity of a powerfully realistic crime novel. However, it is much more than that. Wright raises issues concerning the underlying problems of black men living lives that are stifled by the oppression of racism and classicism. For Bigger Thomas, murder is a way to feel his own power.
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Wright presents a grim picture of human degradation and destructive results caused by racism. At Bigger's trial, through his communist-oriented lawyer, Max, Wright presents a worldview of a more equitable society that would, possibly, not have produced a person like Bigger. The main concept of Native Son is an argument that social conditions of deprivation motivate people to act in anti-social ways. Wright paints a clear picture of the impossible lives led by African Americans in 1930s Chicago.
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“But they made him feel his black skin by just standing there looking at him, one holding his hand and the other smiling. He felt he had no physical existence at all right then; he was something to be hated, the badge of shame which he knew was attached to a black skin. It was a shadowy region, a No Man's Land, the ground that separated the white world from the black that he stood upon” (Wright, NS, 67-68). They are forced into overcrowded, overpriced and substandard housing.
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They are given such low-paying and transient employment that they cannot maintain a secure living, they are cut off from education and they are the victims of racist media misrepresentations. When Bigger acts in an unfeeling way, killing and then disposing of the bodies of his victims, Wright argues that these are conditioned responses to overwhelming stimuli. “If you killed her you'll kill me', she said. 'I ain't in this…. You told me you never was going to kill.' 'All right.
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'All right. They white folks They done killed plenty of us.' 'That don't make it right'” (Wright, NS, 168). Throughout the novel, Wright illustrates the ways in which white racism forces blacks into a pressured, dangerous and unsecured state of mind. Blacks are beset with the hardship of economic oppression and forced to act subserviently before their oppressors. Given such conditions, it becomes inevitable that blacks such as Bigger Thomas will react with violence and hatred.
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Wright's development of Bigger's view of whites as an overwhelming force that sweeps him toward his fate can be seen in the context of naturalism. Wright uses the conventions of naturalism in this novel, in order to force one to enter into Bigger's mind and to understand the devastating effects of the social conditions in which he was raised. Perhaps Bigger was not born a violent criminal. He is a native son, a product of American culture, but the violence and racism that suffuse it.
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With the newspapers presenting him as a murderous animal and Buckley using the case to further his own political career, anything said in Bigger's defence falls on deaf ears. His fear, rage and conflicting and unexamined desires torture him to the utmost. The public may desire to build a wall of hysteria surrounding Bigger in order to justify its racist stereotypes. It thus also attempts to deny its racism by creating the illusion of equal treatment under the law.
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The motto of the American justice system is equal RACIAL DISCRIMINATION IN RICHARD WRIGHT'S NATIVE SON: A STUDY Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) 76 justice under law, but Wright depicts a judiciary so undermined by racial prejudice and corruption that the concept of equality holds little meaning. In response to his crime, the white-dominated press and authorities incite mob showed hatred against him. Bigger and his family lived in cramped and squalid conditions.
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All he can do is to act out the role of the subservient black man that he has seen in countless popular cultural representations. However, as Bigger's life demonstrates, this constant fear actually causes violence. Throughout the novel, one can see that when Bigger is cornered, like the rat, he is overwhelmed by shame and fear and lashes out with violence, the only weapon at his disposal.
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Here is an example from his speech to Bessie and she cries out to Bigger after he admits to her that he killed Mary Dalton: “Lord, don't let this happen to me! I ain't done nothing for this to come to me! I just work ! I ain't had no happiness, no nothing. I just work. I'm black and I work and don't bother nobody….” (Wright, NS, 170). Wright uses the conventions of naturalism to portray the effect of racism on the oppressed and the hypocrisy of justice.
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In this chain of events, Wright depicts the irrational logic of racism, a vicious cycle that reproduces itself over and over again. The attention prompts Buckley, the State's Attorney, to hurry Bigger's case along and seek death penalty. Unable to face the reality of his life as a black man, Bigger is forced to keep his thoughts and his feelings apart. Bigger's guilt and punishment are decided before his trial ever begins, perhaps even before he is arrested.
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These characters' lives are shaped by forces of society that are uncontrollable. The racial climate in Wright's eyes, from a reading of Native Son, is that of the perspective expressed by a black American who says: “To Bigger and his kind, white people were not really people; they were a sort of great natural force, like a stormy sky looming overhead or like a deep swirling river stretching suddenly at one's feet in the dark” (Wright, NS, 109).
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It could be found that Bigger Thomas's history is the history of every black American. It coincides precisely with the finding and evolution of the United States of America. It irrefutably demonstrates that Richard Wright is one of its finest artists and sensitive chroniclers of black sensibility to the whole world. Wright's early life, which had experienced extreme poverty and anti-Black racism, in the American South, shaped his proletarian world view.
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The violent, racist and impoverished circumstances of Wright's upbringing in the old segregated South made him search desperately to find out whether black men could live with human dignity and without fear in a world dominated by white male power. Wright's own complex consciousness, strongly influenced by modern rationalism, also made him fascinated by the irrational aspects of life. He wanted to find out if black men could be or become psychologically free of their white oppressors.
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Accordingly, Wright believed that the Black creative intellectual had a strong responsibility to contest white power's conception of existence and, in the process, to assert the validity and complexity of the Black experience. Throughout the novel, Wright illustrates the ways in which white racism forces blacks into a pressured and therefore dangerous state of mind.
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Blacks are beset with the hardship of economic oppression and forced to act subserviently before their oppressors, while the media consistently portrays them as animalistic brutes. Given such conditions, as Max argues, it becomes inevitable that blacks such as Bigger will react with violence and hatred.
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However, Wright emphasizes the vicious double-edged effect of racism: though Bigger's violence stems from racial hatred, it only increases the racism in American society, as it confirms racist whites' basic fears about blacks. In Wright's portrayal, whites effectively transform blacks into their own negative stereotypes of blackness. Only when Bigger meets Max and begins to perceive whites as individuals does Wright offer any hope for a means of breaking this circle of racism.
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Only when sympathetic understanding exists between blacks and whites will they be able to perceive each other as individuals, not merely as stereotypes. Thus, the author, through his works, brings out the fact that black people are never given liberty to RACIAL DISCRIMINATION IN RICHARD WRIGHT'S NATIVE SON: A STUDY Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) 77 live with freedom and as per their choice.
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Wright has voiced out in an effective way how they were affected by racism. Ultimately, Wright portrays the vicious circle of racism from the white perspective as well as from the black one, emphasizing that even well-meaning whites exhibit prejudices that feed into the same black behavior that confirms the racist whites' sense of superiority. References ? Abrams, M.H. A Glossary of Literary Terms. New Delhi: Macmillan, 2003. Print. ? Baldwin, James. Notes of a Native Son. Boston: Beacon P, 1984.
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Notes of a Native Son. Boston: Beacon P, 1984. Print. ? Fabre, Michel. The Unfinished Quest of Richard Wright. New York: Morrow, 1973.Print. ? Gounard, Jean-Francois. The Racial Problem in the Works of Richard Wright and James Baldwin. Trans. Joseph J. Rodgers. Connecticut: Greenwood P, 1992. Print. ? Wright, Richard. Native Son. New York: Harper and Row, 1940. Print. RACIAL DISCRIMINATION IN RICHARD WRIGHT'S NATIVE SON: A STUDY Literary Endeavour (ISSN 0976-299X) : Vol.
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XII : Issue: 1 (January, 2021) 78 16 COLLISION OF CULTURAL IDEOLOGIES IN THE NOVEL- RIOT Dr. Thammaiah. R. B., Associate Professor and Head, Dept. of English, Padmashree Institute of Management & Sciences, Kommaghatta, Bengaluru-60 Abstract: The genesis of the book may be traced to the simmering Hindu-Muslim discontent of the 1980's culminating in the Babri Masjid violence at Ayodhya.
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In particular, Shashi Tharoor has in mind the description of a riot that actually broke in 1989 in Khargone, Madhya Pradesh. Simultaneously, the report of the death of American woman in a different part of the world: in South Africa, a social worker, who had gone there to help the cause of the blacks, was ironically killed by a black youth.
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In Riot, the two incidents coalesce into a single event: the death of Priscilla Hart, a volunteer from the United States working for a population-control awareness program, killed in a communal riot that breaks out in a small Indian town. This central event merges into a larger network of ideas with other related issues, all of which are worked into the narrative of Riot.
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The background is the Hindu-Muslim riots over the Ram Shila Pujan but, unlike The Great Indian Novel, Tharoor here chooses to work on a small canvas, a small, dusty town called Zalilgarh. At the same time, the story reaches out across narrow confines, taking into its purview two antipodal, culturally disparate continents, individuals and situations.
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Tharoor is concerned with innovative forms of narration: conspicuous by its absence is the conventional 'once upon a time' story, the 'dear reader…' approach, or the omniscient narrator. 'Down with the omniscient narrator. It's time for the omniscient reader,' says a character in the novel, making Tharoor's attempt a self conscious exploration of narration drawing the reader into the act of decoding of the story.
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Riot is not a conventionally structured novel: there is no formal beginning or end, no linearity or narrative or plot or formal constructions of the genre. It is more of a collage that brings together many different fragments of a jigsaw puzzle that the reader must put together to form a coherent whole.
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The pieces comprise an astonishing variety - there are diary entries, letters, memoirs, excerpts from scrapbooks and journals, transcripts of interviews, conversations overheard, entries in notebooks, journalistic reports, a handful of poems, even a birthday card and a cable. All the various pieces of the collage are different takes on a central event - the death of Priscilla Hart. How did she and what were the circumstances?
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How did she and what were the circumstances? The reader is faced with the task of groping through the evidence and unraveling the story. At times, one has the uneasy feeling of being a voyeur peeping into a private chamber, reading another's personal diaries or letters, or eavesdropping into somebody else's very special, very intimate encounters.
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But the embarrassment is not allowed to linger, as almost immediately, there is a swing toward the impersonal, an interview conducted by an objective reporter, the official voice of police personnel in charge, or simply, a shift of perspective. All this is part of the narrative strategy. The story is not told to us, but it is shown through the pieces of the collage. At the same time, what Riot seeks to present is not simply a whodunit tale or the story of the poignant death of a visiting American.
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It goes beyond mere statistics, beyond the factual details of the tragedy, to be reconstruct the emotional life of the woman sketched vividly in a scrapbook that she maintains: the idealism that brought her to that remote spot, the passion for her job, the love interest in her life, the secret rendezvous from time to time, the uncertainty and the agony of entering into a doomed love affair.
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Her paramour, Lakshman, a local Indian administrator, who is married but finds himself involved in Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) www.literaryendeavour.org 79 a relationship with the American, is also a writer of sorts and keeps his own journal. So there are two different perspectives on the relationship.
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The clash of cultures, the divergent viewpoints, the inability to understand the working of the other's mind, the imminent end of the relationship - all this comes across through the personal journals of the main characters of the novel. Despite the passion and the love, social pressures are far too strong for a lasting relationship. And then violence erupts, causing Priscilla's death and putting an abrupt end to the possibilities of the love story.
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One of the main concerns of the novel is history as it is lived in a particular space and time. And history is nothing but truth. Riot is about the ownership of truth and history. It presents about a dozen versions of a given situation, no single one being privileged over the other.
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If the story is told or presented from Lakshman's and Priscilla's points of view, it is also presented from the varying points of view of the other characters: the staunch Hindutva supporter, the Muslim activist, the police official, the grieving parents of the riot victim, the wronged wife, etc. Their separate stories contribute toward the various pieces of the jigsaw puzzle called the truth or history - the puzzle that Tharoor presents as Riot.
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Tharoor seems to suggest that history is not a web woven by innocent hands. The different pieces of the collage in his novel are often divergent, often contradictory accounts of the same event. Yet each has its validity, its own truth, and its own beauty. Riot is a departure from his previous works less satirical and more of an exploration of religion, cultural differences, and especially, human relationships.
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Summing it up in a single sentence, Tharoor says that the book is about love, hate, the clash of cultures, the ownership of history, and the impossibility of knowing the truth. Here, for the first time in his novels, he introduces an American character around whom the action will revolve a woman who is killed in a communal riot at the beginning of the novel. The rest of the narrative provides different perspectives on this central event.
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To study the mechanics of a communal riot, Tharoor accessed a report written by a college friend who was a senior officer in the Indian Administrative Services during a similar riot in Madhya Pradesh. However, the novel is not a dry summary of statistics of impersonal data: on the contrary, it takes the episode from an intimate angle, focusing on a personal relationship that becomes entangled in a larger political imbroglio.
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At the same time, it experiments with various forms of narration: the narrative presents an assortment of fragments, bits and pieces of information, transcripts of interviews, newspaper reports and other factual data: these pieces form a collage, all fragments presenting different aspects of the central event - the death of woman called Priscilla Hart. How did she die and what were the circumstances?
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How did she die and what were the circumstances? The story is shown through the pieces of collage like canvas, the mode of narration being as unusual as the tale itself. Although he is located in the Western world, Tharoor's frequent trips to India and his emotional attachments to his country ensure that he is at home in both these worlds that have awarded him un stinted recognition.
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While there is no denying that he is a formidable talent on the present literary scene, he has been more fortunate than most of his contemporaries in the awards his works have received, both in India and in the West. Tharoor has been generous, unlike most of his predecessors in giving interviews about his writings and literary theories. This enables readers to appreciate his works better - sometimes, arguably, with mathematical precision.
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In an interview with Sunil Sethi, he claims that, unlike his earlier two satirical novels, this novel is to be taken seriously and that takes itself seriously. He also adds that it focuses on collisions of various sorts between individuals, between cultures, between ideologies and between religions.
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He goes on to say that the novel by focusing on one place, one time, a small group of people helps illuminate the kind of issues he wants to talk about our identity and communalism and so on to showcase the multiplicity of perspectives, since people are disputing the ownership of history and trying to uncover the truth behind a certain event. Literary Endeavour (ISSN 0976-299X) : Vol.
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Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) COLLISION OF CULTURAL IDEOLOGIES IN THE NOVEL- RIOT 80 It is a novel that flows and ebbs like the tide. It is an attempt to put Indian readers to self- examination. This book is a beautiful amalgamation of all the nine elements - love, hate, joy, sorrow, pity, disgust, courage, pride and compassion.
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The novel's greatest virtue is that without being pedantic didactic, it presents an accurate picture of the thinking of the various forces that are competing for supremacy in contemporary India. The secular administrator's view of a benign India; the militant Hindu's view filled with grievances of the past, some real, some imaginary; the secular Muslim's view of believing in a united India; the police officer's view of an ungovernable yet functioning anarchy.
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Tharoor always believes that the very word novel implies that there must be something new about each one. What was new to him about the way Riot unfolded was that he told the story through newspaper clippings, diary entries, interviews, transcripts, journals, scrapbooks, even poems written by the characters - in other words, using different voices, different stylistic forms, for different fragments of the story.
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But throughout it was clear to him that the story of Riot was a story of various kinds of collisions of people, of cultures, ideologies, loves, hatreds - and it could not be told from just one point of view. He knows this will strain credulity, but he actually did not think much about.
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Of course he was aware that Priscilla hart might be seen as one more in the long line from Adela Quested through Daphne Manners and on, but he was writing about a different period, the colonial connection was absent and there was no rape metaphor in his novel! he is on record as asking, with reference to those earlier novels, why, if rape had to be a literary metaphor for the colonial connection, a British woman had to be the victim of it rather than an Indian.
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His novel is not about a torrid east-west encounter in a colonial setting; it's about today's people in our increasingly globalizing world, where collision and confluence seamlessly cross national and ethnic boundaries. The novel is about a number of forms of collision and penetration, and the attempts to inject coke into India worked as useful metaphor in various ways.
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Like his two previous novels, The Great Indian Novel (1989), and Show Business (1992), Riot holds up yet another mirror to India's contemporary social and political history, the frame a specific town in a particular year and a context that continues to make the secular heart bleed. The novel, says Tharoor, raises issues beyond the specificities of time, place and culture to illuminate larger questions: Who are we? By what do we define ourselves? What do we hate? Why do we hate?
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What do we hate? Why do we hate? What are we prisoners of? Asked how he blended his portrayal of real Indian characters with four American characters in the novel, including the central one of Priscilla's . Conclusion Tharoor, by simultaneously offering divisive and variant notions of the historical impetus, brings into sharp focus the limitations of historical knowledge that is at best seen as a creative discourse which actively survives with the nebulous notions of truth and reality.
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In other words, Riot characterizes historical narratives as inventions / fictions which have more in common with their counterparts in literature than they have with those in the sciences. The act of the Riot would be an instance where personal and political spaces collapse in real terms. Tharoor, in the novel shows how these spaces intersect constantly and examines nature of an act that though impersonal at one level has immense bearing on subjective histories that frame personal angst. References: ?
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References: ? Nair, Uma. “Once upon this time” The Asian Age, August 19,2001. Online. /books/riot/asianage. ? Dhir, Paras, “Shahi Tharoor's Riot: Perspectives on History, Politics and Culture.” Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol.1, No.1 (2009) pp.33-43. . Web. Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) COLLISION OF CULTURAL IDEOLOGIES IN THE NOVEL- RIOT 81 ? Tharoor, Shashi. “Beyond Boundaries” The Indian Express. July 22, 2005. p.11.
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July 22, 2005. p.11. ? Tharoor, Shashi. Interview. http://www.shashitharoor.com/reviews/riot /readings/22riot.html. ? Tharoor, Shashi. Interview with Juhi Parikh. “You can't feel the country's pulse….” May, 2004, http://www.shashitharoor.com/interviews/divao 504.htm. ? Tharoor, Shashi. Riot. New Delhi: Viking-Penguin, 2001. p.1 All Subsequent references given in parentheses are from this edition. ? Eagleton, Terry. Literary Theory: An Introduction. U.K.: Blackwell, 1996. Print. ?
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U.K.: Blackwell, 1996. Print. ? Gripaldo M. Rolando, “Roman Catholicism and Filipino Culture.” Relations Between Religions and Cultures in Southeast Asia, Ed., Donny Gahral Adian, Gadis Arivia, CRVP, U.S.A., 2009. Print. Literary Endeavour (ISSN 0976-299X) : Vol.
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Print. Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) COLLISION OF CULTURAL IDEOLOGIES IN THE NOVEL- RIOT 82 17 AL-MA'ARI AND SHAKESPEARE Dr. Akram Shalghin, Associate Professor, English Literature, Amman, Jordan Abstract: A precise description of this study can be summed up in the perplexing existential conceptions of both life and death for two literary figures, William Shakespeare (1564 - 1616) and Abu al-A'ala al-Ma'ari (973-1057).
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Though the old question of “to be or not to be” which was articulated by William Shakespeare within a certain context and specific conditions related to the situation within which his central figure Hamlet found himself, it seems to shape a quite considerable part of his overall philosophy on life and death. The just-mentioned way of thinking is parallel to, or has many in common with, that of the Arab poet Abu Al-A'ala Al-Ma'ari.
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This study is particularly concerned with the works of these authors which explore the identity of human beings and, likewise, their relevant attempts to find meanings for their lives. Moreover, it also examines the question of disillusionment which sometimes results in a moral paralysis and death wish.
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The two figures, al-Ma'ari and Shakespeare, focus precisely on the difficulties that encounter human beings when they try to adapt themselves to the unpleasant world which constantly contradicts their principles and values.
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Their works, likewise, embody the idea that harsh circumstances and cruel nature are bent on crushing and destroying humans' hopes, expectations and ambitions; they, furthermore, reveal humans' limitations when they show humans as powerless and unable to stand against all these challenges. Hence, the ultimate question they pose is to do with how humans can act when they realize their limited capabilities and that they are surrounded by the evil inside and outside themselves!
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Despite all the above-mentioned difficulties, the two writers believe in what is termed as 'commitment' though they are cautious about being completely immersed in tiresome social life, as their biographical sketches reveal, though it is not so extensive in the case of Shakespeare's life. Given this reality, al-Ma'ari partly isolates himself from active life but at the same time he provides constructive social criticism and tries to cultivate his garden.
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On the other hand, regardless of the various contemporary difficulties in his time, social, theological, and the like, Shakespeare, draws his characters far from having one-dimensional behavior, they do not only act but they also react; he makes his characters insist on the action and on preserving their human values regardless of the consequences.
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As remarked above, remoteness describes the apparent relationship or connection between the two literary figures; the time and place differences are profound factors insofar as there are many centuries that separate al-Ma'ari from Shakespeare. Likewise, they belong to two geographically different places; their two cultures are opposed to each other, in other words, the respective ubiquitous cultural concerns and traditions are shaped accordingly, facts that further distance them.
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Additionally, there are also great differences in the personal lifestyle of both men. Nonetheless, there is a strong affinity between the two literary authors, especially in connection with the existential dimension of their writing. It may seem a little odd or even anachronistic to attach existentialism to al-Ma'ari and Shakespeare since this trend is closely associated with Modernism, the age in which humans have been able to excel in most branches of science.
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But ironically this progress has been accompanied by disillusionment and loss insofar as the basic questions which are related to humans and life, in general, are concerned, and the very identity of humanity is now being constantly questioned. Humans now seem as oscillating between Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) www.literaryendeavour.org 83 survival instinct to assert themselves and between Thanatos or death wish which releases their consciousness.
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The life of modern humans, especially in the West, is highly complex. It is not coincidental that existentialism should be established to crystallize human fear of emptiness and loss to the extent of making them wish for annihilation. It may not be fair to impose existentialism upon two writers who are somewhat difficult to classify and who do not systematically propagate any theory. On the one hand, al-Ma'ari is the poet of his age when he deals with politics, religion, society, and ethics.
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Shakespeare also tackles contemporary issues in his attempt to represent all the classes of his society. On the other hand, one can easily detect that behind the social face of these poets there is a divided personality between responding to daily life and between a running desire for oblivion, the cause of which may be related to the demands of life in general and disappointment in human nature and its limitations in particular.
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Death wish is the natural reaction for al- Ma'ari and Shakespeare since they visualize human life as burdensome and sometimes a kind of curse. Whereas al-Ma'ari's thoughts are conveyed directly through his poems, Shakespeare's thoughts are approached through his dramatic characters since they are not the architects of their personalities or the creators of their thoughts; thus, their philosophy is framed by his own.
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Being born to suffering in life is no less than the victimization of the parents to their children, thus Al-ma'ari has shocked the human conscience in his well-known outcry, which he requested to be inscribed on his tomb: "This is my father's crime against me, which I committed against none" It clearly illustrates existence as an unforgivable crime. This is a terrifying human shriek that expresses al- Ma'ari's indignation about having to endure the consequences of his father's crime.
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There are so many poems by al-Ma'ari which show his resentment of just being alive and his unyielding spirit for nothingness.
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He often wishes that the newly born baby is hurried to inevitable death: “If only a new-born child died at the time of giving birth, and was not breastfed by his postpartum mother” He expresses his wish that human beings would not reproduce new victims -so to speak - to this world, that is why he desires immediate death to any newcomer to this life exactly at the very moment of being born; meanwhile, he does not miss to draw a reference to the state of the mother after giving birth, hence indirectly draws upon the pain caused in the reality of birth and recreation.
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He insists that we must avoid procreation since it is a terrible crime inflicted upon the innocent who is thrown into an evil environment: “Like manipulative orators, fathers commit a crime by imposing existence on their children. What has caused your children to abandon you is their vengeance that they are your offspring.
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They realize that their father has thrown them into arid existence, what a life!” Al-Ma'ari is uncomfortable with what religious teaching recounts about the life of human beings and its value for Its Creator. He even goes so far as to blame God Himself for this unnecessary or meaningless life and its painful death, he regards this process of creating life and ceasing it eventually only to enliven it again as a pointless act; it is a kind of contradiction from which human beings suffer: "Oh, Lord!
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You have forbidden premeditated murder, yet, you have sent two angels to do the same thing! You pretend that there is another life; it would be much better if neither existed!” Similarly, Shakespeare has often created in his tragedies many characters that are doubtful about the whole teleology of life and they express a strong desire for non-being.
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Richard II may stand as an outstanding example for this state of loss and confusion of a to-be-or-not-to-be situation: Sometimes am I, king; Then treasons make me wish myself a beggar, And so I am. Then crushing penury persuade me I was better when a king AL-MA'ARI AND SHAKESPEARE Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) 84 Then I am king'd again; and by and by Think that I am unking'd by Bolingbroke, And Straight am nothing.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
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But whate `er I be, Nor I, nor any man that man is, With nothing shall he be pleas'd till he be eas'd With being nothing As Derek Traversi remarks, the subtle formulation of the expressions which fluctuate between a king and a beggar and being and non-being leads Richard to face nothingness which he sees as an integral part of human life. Therefore, he yields to accept this bitter fact, while his opponent Bolingbroke avoids this confrontation by pursuing authority.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
Eventually, Richard realizes that both ways are marked by some kind of illusion. Thus, nothingness dominates everything and is looked at as a release from tiresome life and burdened consciousness.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
Similarly, the reaction Macbeth reveals upon hearing of Lady Macbeth's death is a bombastic philosophical reaction; perhaps in English poetry these are among the most powerful lines in terms of their philosophical views, they represent emotional outbursts which are highly original and evocative of contemplating the very essence of all life as he asserts that life is devoid of meaning and intent: Life's but a walking shadow, a poor player That struts and frets his hour upon the stage, And then is heard no more; it is a tale Told by an idiot, full of sound and fury, Signifying nothing.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
These lines correspond to Macbeth's negative experience in the play, but Shakespeare gathers momentum to vividly show life as an apparition swinging in the trap of 'nowhere' and of the changes of 'tide' and doomed to total oblivion.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
Macbeth at the end sees life as a candle with a dim light that when it is put out some sort of salvation is achieved: “Outs out, brief candle” Here Macbeth reveals a torn human self, yearning for death without any hope of continuing a life stifled by ambition for empty authority. This is the same experience of Al-Ma'ari when he resents the attitude of those who want to devour life, he typically urges restraint: “All life is exhaustive! I wonder how humans demand more of life!
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
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I wonder how humans demand more of life! Step lightly, I guess that the salt of the earth comes from these corpses!” In the same way that Shakespeare expresses through Macbeth that only the fools who are tempted by apparent happiness, al-Ma'ari bitterly concludes that life is a tiresome business and it is wise to be content with the minimum of everything and to withdraw from the 'sound and fury' of existence.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
He imposes on himself imprisonment which isolates him from people, in addition to his two natural prisons which he sees in his blindness and the containment of his spirit within a contaminated body: “I see myself trapped within three jails, so don't ask about the clear news!
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
It's the loss of my sight; Being forced to commit myself to be always at home, and the containment of my soul within a dirty body!” It is noteworthy that many pessimistic existentialists see the spirit as imprisoned and consequently yearns for death to be released from the demands of the body. Philip Larkin, the modern English poet, expresses this notion beautifully in his human cry in the bewilderment when he says, 'a desire for oblivion runs.'
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
However, al-Ma'ari does not have a fixed opinion about the spirit for he sees it at one time as an independent essence imprisoned within the body to be tested, and at another time he looks at it, just like the AL-MA'ARI AND SHAKESPEARE Literary Endeavour (ISSN 0976-299X) : Vol. XII : Issue: 1 (January, 2021) 85 materialists, as a power connected with the body and ends in death.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
Perhaps the reasons or motivations which have led aI-Ma'ari and Shakespeare to establish their tragic vision are mainly related to their knowledge and awareness of the limitations of human nature and the complicated motivations of humans which only serve his egoism in one way or another. For that reason, al-Ma'ari realizes that humans have always to adapt to society even at the expense of some of their principles.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
Belarus
His adoption of dissimulation of his religion is part of his social policy to keep his true belief to himself: “Never tell anybody about the essence of your religion, otherwise you're deceived! Be silent, for one's speech may cause destruction! If you have to speak, try to be clear and brief!
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
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What I say is not the whole truth, but it has varieties of metaphors.” It is clear that these lines indicate that Al-Ma'ari sometimes hides behind the deceptive and evasive language to deal with people, especially the mob, but he reveals his true opinion if circumstances are favorable, as is the case when he denies the major religions of his time and associates faith with irrationalism and naivety: “Hanifs (Muslims) are stumbling, Christians all astray Jews wildered Magians far on error's way.
https://docs-lawep.s3.us-east-2.amazonaws.com/thematic2a/pw_1/1715698230843.pdf
https://www.literaryendeavour.org/files/cxllzcyjy50v3sddghfs/2021-01%2020%20COMPLETE%20JOURNAL.pdf
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