Post Colonial Studies

Hello reader :) This is response task given by my teacher Dr. Dilip Barad this task is about future of Postcolonial studies and in over syllabus we have two essay by Ania loomba. In this blog i am trying to summarising both article and most important quotes and some example which discuss in class.

1) Globalization and the Future of Postcolonial Studies – Ania Loomba – Colonialism/Postcolonialism – 2nd Edition

Since the events of 11 September 2001, the so-called global war on terror,and the US invasion of Afghanistan and Iraq, it is harder than ever to seeour world as simply ‘postcolonial’. Article starts with that incident. Very important work and discuss about Empire, imperialism, market, market fundamentalism, Capitalism, Multinational company, and wast countries and East countries

Michael Hardt and Antonio Negri’s

Empire argues that the con-temporary global order has produced a new form of sovereignty which should be called ‘Empire’ but which is best understood in contrast toEuropean empires:bor

In contrast to imperialism, Empire establishes no territorial center of power and does not rely on fixed boundaries or barriers. It is a decen-tered and deterritorializing apparatus of rule that progressively incor-porates the entire global realm within its open, expanding frontiers.Empire manages hybrid identities, flexible hierarchies, and plural exchanges through modulating networks of command. The distinct national colors of the imperial map of the world have merged and blended in the imperial global rainbow.(Hardt and Negri 2000: xiii–xiii)

Arjun Appadurai’s Modernity at Large

Catalogues of ‘multiple locations’ and new hybridities, new forms of communication, new foods, new clothes and new patterns of consumption are offered as evidence for both the newness and the benefits of globalisation. SimonGikandi 

Etienne Balibar important work neo racism 

The new racial ideologies are not less rigid simply because they invoke culture instead of nature; rather, we see today that ‘culture can also func-tion like a nature’ and can be equally pernicious .Phobia about Arabs today, he writes, ‘carries with it an image of Islamas a “conception of the world” which is incompatible withEuropeanness’ . Thus Muslims are regarded as people who can never successfully assimilate into Western societies, or who are culturally con-ditioned to be violent, ideas that dominated the media coverage of Islamafter the attacks on the World Trade Center and the Pentagon in theUnited States on 11 September 2001.

 P. Sainath observes, far from fostering ideological openness, has resulted in its own fundamentalism, which then catalyzes others in reaction:

Market fundamentalism destroys more human lives than any other simply because it cuts across all national, cultural, geographic, reli-gious and other boundaries. It’s as much at home in Moscow as inMumbai or Minnesota. A South Africa – whose advances in the early1990s thrilled the world – moved swiftly from apartheid to neo-liberal-ism. It sits as easily in Hindu, Islamic or Christian societies. And it contributes angry, despairing recruits to the armies of all religious fundamentalisms. Based on the premise that the market is the solu-tion to all the problems of the human race, it is, too, a very religious fundamentalism. It has its own Gospel: The Gospel of St. Growth, of St. Choice

…

(2001: n.p.)

The New York Times

(Friday October 17, 2003) speaking of huge demonstrations in La Pazwhich defied military barricades to protest a plan to export natural gas to the United States:

‘Globalization is just another name for submission and domination’,Nicanor Apaza, 46, an unemployed miner, said at a demonstration this week in which Indian women…carried banners denouncing theInternational Monetary Fund and demanding the president’s resigna-tion. ``We've had to live with that here for 500 years, and now we want to be our own masters.’

 JosephE. Stiglitz, Nobel laureate and once Chief Economist at the WorldBank, also uses the phrase ‘market fundamentalism’ in his critique of globalisation as it has been imposed upon the world by institutions  World Bank and the IMF:

The international financial institutions have pushed a particular ideol-ogy—market fundamentalism—that is both bad economics and badpolitics; it is based on premises concerning how markets work that do not hold even for developed countries, much less for developing countries. The IMF has pushed these economic policies without a broader vision of society or the role of economics within society. And It has pushed these policies in ways that have undermined emerging democracies. More generally, globalization itself has been governed in ways that are undemocratic and have been disadvantageous to developing countries, especially the poor within those countries.

Niall Ferguson:

So long as the American Empire dare not speak its name…today’sambitious young men and women will take one look at the prospects for post war Iraq and say with one voice, ‘Don’t even go there’.Americans need to go there. If the best and brightest insist on staying home, today’s unspoken imperial project may

end—unspeakably—tomorrow.(Ferguson, 2003: 52).

The Atlantic Monthly by Robert D. Kaplan 

This rewriting has, as we all know, begun to happen. The destructive histories of modern empires are being widely whitewashed. Thus David Cannadine’s Ornamentalism asks us to believe that there was no racism in the British Empire. Thus too George W. Bush now claims that the United States freed Filipinos instead of colonising them. Such whitewashing not only obscures, distorts and ignores anti-colonial and post-colonial scholarship but also directly attacks it. Dinesh D’Souza’s ‘Two Cheers for Colonialism’ claims that ‘apologists for terrorism’ such as Osama Bin Laden and other ‘justifications of violence’ rely on a large body of scholarship ‘which goes by the names of “anti-colonial studies,” “postcolonial studies,” or “subaltern studies”’(2002: n.p.).

Thus North Korea and India’s nuclear programmes are developed in defiance of the US, and challenge the right of a few powerful nations to dictate to the rest of the world, but nuclear proliferation can hardly be seen as progressive in any way.

Arundhati Roy: 

The thing to understand is that modern democracy is safely premised on an almost religious acceptance of the nation state. But corporate globalization is not. Liquid capital is not. So though even capital needs the coercive powers of the nation state to put down revolts in the servants’ quarters, this setup ensures that no individual nation can oppose corporate globalization on its own. Radical change cannot and will not be negotiated by governments; it can only be enforced by people. By the public. A public who can link hands across the national borders.

(Roy 2004: n.p.)

Article end with globalization and Ecocriticism how the multinational company are making us colonized and government and other many thing slowly and steadily they are controlling by money by labour and as a name of development they are make people and animal shelterless. 

The resistance to globalisation, moreover, often takes very local shape and involves struggles against national authorities, as in the case of the Narmada Bachao Andolan (NBA) in India, which has been protesting the Narmada Valley Development project to build scores of large dams across central India, dams which were not only unsustainable in themselves but which would cause the displacement of thousands of tribal peoples all across the Narmada valley. The project was funded by multinational as well as indigenous capital. Following a long and systematic struggle led by the NBA, the World Bank pulled out of the project in 1993. This left the NBA ‘face to face with the Indian state’

(Palit 2003: 88). Finally, it was the Indian Supreme Court which ruled that construction of the dams would continue.

Rang de Basanti

A nexus  between politician and businessman vs young college boys (one them has to murder his own father who was corrupt businessman before murdering the politician)

Lagaan

Film is about king and their and british colonialism in India protagonist Bhuvan accept challenged of Cricket Match and they win as a winner their free to not pay Tex to British Government. 

Shamshera movie also related with trible poeple and their sturrgle also it was related with elite class in India Dalit literature is also against with elite narration and it can ralate with subaltern studies and Marginilized poeple. 

Madaari

The conflict between common man (father whose child died in bridge crash) and nexus between construction company and politicians. 

Tiger

The conflict between one Pakistani salesman and big multinational company Nestle. 

Sonali cable

One girl who running her small businesses of internet cable/local TV service vs giant company 'Shining' which started providing broadband. 

Gayal once again

Again - the conflict of younsters who witnessed Murder of RTI activist against multi-business owner Bansal (represents Ambanis)

Gabbar is back

This movie is again conflict with power politian and common people and also connected with private hospital and their stategies and corruption in India. 

Reluctant Fundamentalism

This movie conflict between market fundamentalism and religious fundamentalism in the aftermath of 9/11 and fight of multination company and their Hire/fire also their stategies on profit not in humanity. Pakistani Youngman work in US. And one more thing I observe in movie is that every Muslims are not terrorist basically who are from Islamic countries wester always seen them as their envolve in torrerist activities. 

Future of Postcolonial Studies – Ania Loomba Colonialism/Postcolonialism - 3rd Edition

Gayatri Chakravorty Spivak, claim they ‘no longer have a postcolonial perspective. I think postcolonial is the day before yesterday’ (Spivak 2013: 2) 

Dipesh Chakrabarty finds that all his ‘readings in theories of globalization, Marxist analysis of

capital, subaltern studies, and postcolonial criticism over the last twenty-five years’ have not prepared him for the task of analyzing the ‘planetary crisis of climate change’ (2009: 199).

In this article post colonial aspects turn towards the environment. There are many thinkers, writers, and critics writing about that and our present situation. 

Ramachandra Guha and JuanMartínez-Alier (1997) point out, is evident in American environmentalism and its obsession with the wilderness. Rob Nixon further notes that this wilderness obsession is celebrated in American literature as well as in natural history, where ‘There is a durable tradition … of erasing the history of colonized peoples through the myth of the empty lands. … a prodigious amount of American environmental writing and criticism. 

Other Writer like:

Ogoni writer and activist Ken Saro-Wiwa in Nigeria

Jodi A. Byrd and Michael Rothberg

Vilashini Cooppan points out

that from its inception [there is] a prevailing version of postcolonial studies in the United States that so embraces its aura of ‘new work’ and its dual allegiances to high theory and a rather reified, distanced, and monolithic ‘Third World literature’ that it largely estranges itself from the individual and collection histories of several important allied traditions such as American studies, Native-American studies, African-American studies, Asian-American studies, Latino studies, and Gay and Lesbian studies.

(Cooppan 1999: 7)

Native Americans or African-Americans, however disenfranchised, are citizens of the most powerful nation-state in the world; on the other hand, at least within the United States,

many immigrants from the third world are either from relatively well-off sections of society, or even when not, have participated in what Toni Morrison has called a ‘most enduring and efficient rite of passage into American culture: negative appraisals of the native born black population’ (Morrison: 1993, 57)

 In The Accumulation of Capital, Rosa Luxemburg suggested the need to revise Marx; she argued that Marx visualised capitalism as a closed system, sufficient in itself.

Its predominant methods are colonial policy, an international loan system, a policy of spheres of interest—and war. Force, fraud, oppression, looting are openly displayed without any attempt at concealment,and it requires an effort to discover within this tangle of political violence and contests of power the stern laws of the economic process.

(1951: 452)

It also needs to encroach on spaces, workers, and goods (or ‘productive forces’) that lie outside its purview:

Capital, impelled to appropriate productive forces for purposes of exploitation, ransacks the whole world, it procures its means of production from all corners of the earth, seizing them, if necessary by force, from all levels of civilization and all forms of society.

(358)

Capitalism’s central dynamic, the constant search for markets,resources and labour, thus involves the ongoing need to draw in

whatever still remains open of the non-capitalist environment.

(446)

Luxemburg’s ideas remain important today for two reasons.Firstly, she alerts us to the deep historical connections between trade and colonialism (Amitav Ghosh’s recent book, The River of Smoke offers a deeply compelling fictional account of this process by looking at the opium trade and wars in China). Secondly, she reminds us that accumulation is a constant process rather than a past event; even if there are no spaces neatly outside capitalism, there are differentially ‘developed’ areas, and areas

where there may be remnants of the commons, still open for enclosure. 

David Harvey suggests that we redefine ‘primitive accumulation’ as ‘accumulation by dispossession’ (2005: 144). Harvey points out that

All the features of primitive accumulation that Marx mentions have remained powerfully present with capitalism’s historical geography until now. Displacement of peasant populations and the formation of a landless proletariat has accelerated in countries such as Mexico and India in the last three decades, many formerly common property resources, such as water, have been privatised (often at World Bank insistence) … alternative (indigenous and even, in the case of the United States, petty commodity) forms of production and consumption have been suppressed. Nationalised industries have been privatised.Family farming has been taken over by agribusiness. And slavery has not disappeared (particularly in the sex trade).(Harvey 2005: 145–46)

Michelle Alexander in a powerful book called The New Jim Crow: Mass Incarceration in the Age of Colorblindess (2012)

Rinku Sen (2011: n. p.) argued

We need to interrogate not just the symptoms of inequality—the disproportionate loss of jobs, housing, healthcare and more—but, more fundamentally, the systems of inequality, considering how and why corporations create and exploit hierarchies of race, gender and national status to enrich themselves and consolidate their power.

They are now ‘the main determinant of the environment of the planet’, ushering in ‘a new geological age’ that can be called the Anthropocene (2009: 208–9). Chakrabarty concedes that

Climate change, refracted through global capital, will no doubt accentuate the logic of inequality that runs through the rule of capital;some people will no doubt gain temporarily at the expense of others.But the whole crisis cannot be reduced to a story of capitalism. Unlike in the crises of capitalism, there are no lifeboats here for the rich and the privileged (witness the drought in Australia or recent fires in the wealthy neighborhoods of California).

(Chakrabarty 2009: 221)

Ian Baucom observes that a ‘new universalism: the universalism of species thinking’ is being proposed here (2012: 9).

German Carl Schmitt

‘open’ spaces in which the activity of European nations proceeded unrestrained: first, an immeasurable space of free land—the New World, America, the land of freedom i.e., land free for appropriation by Europeans—where the ‘old’ law was not in force; and second, the free sea—the newly discovered oceans conceived by the French,Dutch and English to be a realm of freedom.(Schmitt 2003: 94)

So now it is time to think about ecology. It is about displacement. Humans become greedy and they constantly harm ecology. So in post colonial studies there is one concern about displacement and here is something about this term. So what is displacement ? 

“It is about losing a river. Losing access to clean, safe, drinking water…losing land that is watered richly…losing the grass that your herds grazed on. Losing your cattle. Losing the milk that came from your cattle…losing honey and herbs…losing the right to protest when somebody in a uniform shows up to set fire to your home. What else was left to lose?”

Several examples

Sherani

This movie discusses how one tiger is stuck between that place where industrial development was grown up. The story goes like this tiger became the talk of town and politicians use this for upcoming elections. One forest officer called Vidhya tries to save a tiger and send them to a zoo and one professor helped her and at the climax of the movie we found that at the middle there is a mill. Tiger is not able to across it and that’s why she stuck. 

Chakravyuh

Chakravyuh (transl. Wheel formation more idiomatically puzzle) is a 2012 Indian Hindi-language political action thriller film directed by Prakash Jha starring Arjun Rampal in the lead role with Abhay Deol, Esha Gupta, Manoj Bajpayee and Anjali Patil in supporting roles. Chakravyuh aims to be a social commentary on the issue of Naxalites. The first theatrical trailer of Chakravyuh was released at midnight on 16–17 August 2012. The film was released on Durga Puja.Chakravyuh released in 1100 cinemas in India. Despite being well-praised, the movie failed to attract an audience.

 “Tatvamasi” by Dhruv Bhatt. 

When the book was written that time the NBD took a place. Dhruv Bhatt in his novel keeps silent about Narmada Bachao Andolan. It is one kind of escape from contemporary movement. It has also film adaptation but also producer did not mention about NBA author can speak about whatever wrong in society or at least somewhere mention that in small event or by small incident but writers are behave like Wordsworth they only speak about beauty of nature and live in urban they appreciate country but their not connected with the life or it can say hard life of people who live in country. 

Chardham Yatra Project

This project concerns the harm of the environment. Building roads in mountains is harmful not only for the environment but also for humans who travel across the road. Animals, Birds they are shelterless and many other changes in Nature. 

SO these all are points which concern postcolonial studies. Now we have to think about ecology. Humans have only one house to live in and that is Earth. 

Thank you… 

Sunday reading Task

Hello readers:) This is sunday reading task this about watching three video and writing blog on that this video is by Chimamanda Nagozi

Chimamanda Nagozi

Chimamanda Ngozi Adichie ( born 15 September 1977) is a Nigerian writer whose works include novels, short stories and nonfiction. She was described in The Times Literary Supplement as "the most prominent" of a "procession of critically acclaimed young anglophone authors succeeding in attracting a new generation of readers to African literature", particularly in her second home, the United States.

Adichie, a feminist, has written the novels Purple Hibiscus (2003), Half of a Yellow Sun (2006), and Americanah (2013), the short story collection The Thing Around Your Neck (2009), and the book-length essay We Should All Be Feminists (2014). Her most recent books are Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions (2017), Zikora (2020) and Notes on Grief (2021).In 2008, she was awarded a MacArthur Genius Grant. She was the recipient of the PEN Pinter Prize in 2018.

Video-1

People are from Africa, others feel sorry for them even if they do not know them. People from western world always have a single story of Africa:  In this single story, there was no possibility of Africans being similar to them in any way, no possibility of feelings more complex than pity, no possibility of a connection as human equals. Africa was from popular images, Africa was a place of beautiful landscapes, beautiful animals, and incomprehensible people, fighting senseless wars, dying of poverty and AIDS, unable to speak for themselves and waiting to be saved by a kind, white foreigner.

One writer John Lok. But what is important about his writing is that it represents the beginning of a tradition of telling African stories in the West: A tradition of Sub-Saharan Africa as a place of negatives, of difference, of darkness, of people who, in the words of the wonderful poet Rudyard Kipling, are "half devil, half child."two different writers reference used. 

Then she was talking about a single story and power. It is impossible to talk about the single story without talking about power. There is a word, an Igbo word, that I think about whenever I think about the power structures of the world, and it is "nkali." It's a noun that loosely translates to "to be greater than another." Like our economic and political worlds, stories too are defined by the principle of nkali: How they are told, who tells them, when they're told, how many stories are told, are really dependent on power.Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story and to start with, "secondly." Start the story with the arrows of the Native Americans, and not with the arrival of the British, and you have an entirely different story. Start the story with the failure of the African state, and not with the colonial creation of the African state, and you have an entirely different story.In this reference we can see that there are many stories in India colonized by the British . If we write the first failure of  the Royal kingdom then the story is entirely different. Then she talks about the consequences of a single story. It robs people of dignity. It makes our recognition of our equal humanity difficult. It emphasizes how we are different rather than how we are similar.

Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can also repair that broken dignity.like some story made for recall the humanity and some story making ready to soldiers before going to battlefield.That when we reject the single story, when we realize that there is never a single story about any place, we regain a kind of paradise.

Video-2

In this video she was talking about Feminism 

Feminists so heavy with baggage, negative baggage

Men and women are different.

We have different hormones.

We have different sexual organs

We have different biological abilities

52% of the World's Population is Female. But most positions of Power and prestige are Occupied by men.then she give one reference of Kenyan Nobel Peace Laureate. Wangari Maathai said: "The Higher you go The Fewer women there are"Gender as it Functions today is a grave, injustice how we raise boys we stifle the humanity of boys we define masculinity in a very narrow way, masculinity become this hard, small cage and we put boys inside the cage we teach boys to be afraid of fear, to be afraid of weakness of vulnerability Mask their true selves because they have to be in Nigerian Speak "hardMan"  If we seen with indian context they said boys

मर्द को कभी ददँ नहीं होता, 

लड़की की तरह रोना बंद कर, 

लडकीया रोती है, मर्द कभी नहीं रोते

In over Gujarati language they speak 

બાયલો(who act like Girls) 

For girls we teach them

You can have ambition, but not too much" You should aim to be Successful but not too Successful Otherwise you would threaten the Man if you are the breadwinner in your relationship with a man, you have to Pretend that you're not, especially in public Otherwise you will emasculate him. People around unmarried woman are force and pushed to make terrible choices The language of Marriage and relationship is often the language of Ownership rather than the language of Partnership. She talks about gender gap culture, Business or Corporation world then cooking best examples with Gender then Pampering child working woman and other lots of things she discusses. Then she come meaning of Feminism in dictionary and her own version. 

Feminism in dictionary:

A person  who believes in the social Political and economic equality of the sexes.

 

Her own version:

A feminist is a man or a woman who says "yes there's a problem with gender as it is today,

and we must fix it we must do better"

And that's why we should all be feminists. 

Video -3

This video is about Truth. She tells her story how one woman misPronounced her name. She tells about that incident because context matters. We now live in a culture out of a culture  of calling out a culture of outrage telling the truth but lying the word the idea the act has such political Potency. The truth about our failures Our Fragilities ou uncertainties it is hard to tell ourselves that maybe we haven't done the best that we can it is hard to tell that maybe we tell truth of our emotions that may be what we feel is hurt rather than anger that may it is time to

close the chapter of a Relationship Truth sometimes especially in Politicized spaces telling the truth will be an act of courage be courageous never set out  to Provoke for the sake of Provoking but never silence Yourself out of Fear that a truth You Speak. 

In all three video she gives her life experience incident as a example also she can about Nigeria and her cultural also she can wildly speak about America and political position of Nation she use various reference of many writers Africans, European writers and by her talk I can easily connected with over studies like with third world country and give them charity which example connected with cultural studies how the Western powerful nation are work also it is connected with postcolonial studies like their marginalized country and poor countries with example she use her American friend how she have prejudice about Africa is poor country they not have best English Education then second video about Feminism this word is not only related with Female this is important thing I learn and she talks about how our society raise boys and girls with different rules and regulation for girls more rules and for boys these less she was talking about Nagerian cultural but we can directly connected with our Indian culture also work same ways if we connected this feminism with post colonial studies every culture woman's are subaltern, marginalized gender. Third video about Importance of Truth in Post-truth era she was talking about truth and we have speak if there is something wrong and be powerful for speaking truth in over nowadays situation politics making decisions against humanity we have speak about truth. One line she speak I like most is.. 

Literature is my religion I have learned from literature. 

Chimamanda Nagozi personally I like her talks her knowledge and these three video is very informative and i learn many things. 

THANK YOU.....

Final solution

Hello reader:) This is the response blog task given by my teacher on The Final Solution. I am answering four questions. 

Mahesh Dattani was born in Bangalore to Gujarati parents. He went to Baldwin Boys High School and then went on to join St. Joseph's College, Bangalore. 

Dattani is a graduate in History, Economics and Political Science. He completed his post-graduate in Marketing and Advertising Management because he wanted to become a copywriter. He worked with the Bangalore Little Theatre, where his first role was in Utpal Dutt's Surya Shikhar.

After reading Edward Albee's play Who's Afraid of Virginia Woolf? early in his life, he became interested in writing. He was also influenced by Gujarati playwright Madhu Rye's Kumarni Agashi and developed an interest in play writing.

1.)What is the significance of the subtitle "The Final Solutions"?

The title of Final solution is significant as no Solution for this problem community and religion divided in India or any country this problem has no solution. 

2.)Do you think Mahesh Dattani’s “The Final Solutions” makes any significant changes in society?

Mahesh Dattani writes about the society and surroundings in which he lives. His creativity is faithful and authentic expression of the first hand experience and knowledge of socio-cultural environment. He holds a mirror to make reality visible to the audience. The play Final Solutions critically intervenes the post-independence era which has a communally vitiated socio-political scenario. The main character, Dakhsa also known as Hardika in the play fuses past and present. The theme of communal tension is given historical depth through flashbacks featuring Hardika at the age of fifteen in 1948 and her experience in the aftermath of the partition returns to her memory at different points of the play. The play explores the theme of communalismThe play took Dattani over a year to research and Dattani consulted books such as Freedom at Midnight (1975) by Larry Collins and Dominque Lapiers and Lankesh Patrike, a Kannada weekly magazine. He also conducted a number of interviews with survivors of communal riots in Gujarat and Karnataka. One of the riots that Dattani researched that particularly caught his attention was the 1985 Rath Yatra riot in Ahmedabad. This would have had become his inspiration for the riot that brings Javed and Bobby to the Gandhi family in Final Solutions. The political climate of the Ramjanmabhoomi movement of the Hindu Right during which the play was written and produced adds a layer of significance to the play. During the early nineties the BJP (Bharatiya Janata Party) was supporting the demolition of Babri Masjid with religious processions known as Rath Yatras. The context of these Rath Yatras contributes to the play because they are the communal riots which form the background of the play. And in the play it is brought out by the disruption of a Rath Yatra while passing through a Muslim neighbourhood.Communalism like casteism involves stereotyping and prejudice which results into animosity, anger and hatred because of their cultural and religious variance. The past incidents and events like the partition in 1947, Babri Masjid demolition in 1992 and Godhra incident in 2002 have created a huge gap between the Hindus and Muslims. The being in majority or minority also determines the thought process. There is always a consciousness about the religious difference among the people and they use terms „we‟ and „they‟ for themselves and for other community respectively. The same can be understood if we carefully speculate the action throughout the play Final Solutions. Dattani puts masks on the Mob/Chorus to make frequent change of identity to look natural. When the characters articulate inner feelings the chorus whisper or shout along. The plays opens when there has been curfew in the city because of the disturbance in the Rath Yatra resulting in communal violence. The play starts itself with a curfew in the city because of the communal conflicts. The central character Hardika had sorrowful past which had made herself averse to the religious sect of Muslims. Zarine‟s father came to her father in law in search of job but his entreaty was not accepted. This created a tension between those two families and it continued through Hardika. And same experiences might have been of number of families which multiplied the tension between each other resulting into split and hatred between the two sects. This can be observed from the 

lines:

“Hardika : How could he let these people into my house? They killed his grandfather. They will hate us for protecting them. Asking for help makes them feel they are lower than us. I know! They don‟t want equality. They want to be superior.”(Act I, page 24)

We find ample problems and the playwright has not given any solution. Instead, he has let the audience decide. Hence, the final solutions are, in reality, no solutions to these communal problems. We people need to know what makes us hate others.

3) Is Ramnik a liberal thinker? If yes then why? If not then why?

“By definition,” Maurice Cranston says, “a liberal is a man who believes in liberty".

Ramnik 

In Final Solutions by Mahesh Dattani, Ramanik is a secular minded person who believes in communal harmony among different communities. In past his father and grandfather had burnt the shop of a muslim family and began their own business on that place.Ramanik tries to separate for the blunders done by his forefather. When Babban and Javed enter his house, he tries to protect them from Hindu Mob. He is abused by the people of his community for giving shelter to Muslims. Even stones are thrown at his house. However he does not let them do any harm to Babban and Javed.Javed remains quite harsh to Ramnik and even scolds him for what his community is doing. However, Ramanik remains calm and quiet and even offers him job in his shop. The sense of guilt does not vanish away from his mind and ultimately in the end he hates his shop and drops the idea of visiting it again.Ramnik was liberal but according to my thinking he was liberal no doubt but he was doing wrong in the past for this regret he was act like liberal at the end he realised but his liberalism was not reliable. 

4)Does education make any difference? Comment with the reference to the women characters.

“You educate a man; you educate a man. You 

educate a woman; you educate a generation.”

 - Brigham Young

The status of women in a complex society like India is not uniform. Socio-economic growth of any nation lies in women empowerment along with manpower. Education brings a reduction in inequalities and functions as a means of improving their status within the family. Women education in India plays a very important role in the overall development of the country. It not only helps in the development of half of the human resources, but in improving the quality of life at home and outside. Educated women not only tend to promote education of their girl child, but also can provide better guidance to all their children. Moreover educated women can also help in the reduction of infant mortality rate and growth of the population.In Final Solutions, Dattani represents the female characters like Hardika, Smita and Aruna. They make realization that women are not a shadow of male. Today woman is making her spaces. She has a better understanding of realization on identity both inside and outside the family. A woman of liberal ideology views the situation as an individual and constructs the image of life beyond the specified ideology of religious and community-based prejudices. She wants to take decision for herself and is confident on it; she is ready to protest against those agencies that are responsible for her sublimation.Education for women also makes a sense of learning what is right and wrong. Smita in the play Final Solutions is aware of knowing the difference between what is right and what is wrong. She knows how to please others, when to apologise and how to respect elders. One can gain such manners through proper education. Smita is secular in her view on religion and its purpose, whereas, Aruna is a zealous follower of Hinduism. In spite of their ideological differences, both Aruna and Smita wrap up their prejudices and end the conflict on a reconciliatory note: Smita:( apologizes to her mother) “I am sorry. I mean it.” Aruna: “All right. Do what you think is best.” 7

. (F.S Act III p.59)

Education makes difference with character of smita and Aruna. 

Foe

Hello readers:) This is a response blog task given by my teacher on J. M. Coetzee's Foe my teacher gave 6 questions and we answered 3 questions. 

J. M. Coetzee

Question:1

How would you differentiate the Character of Cruso and Crusoe? 

“I would gladly now recount to you the history of the singular Cruso, as I heard it from his own lips. But the stories he told me were so various, and so hard to reconcile one with another… age and isolation had taken their toll on his memory, and he no longer knew for sure what was truth” (Coetzee, 11-12)

This quote from Coetzee’s Foe

Cruso’s lack of journaling is a stark contrast to Defoe’s Robinson Crusoe. Robinson Crusoe is much less passive and senile in regards to his own development on the island. Crusoe kept a painfully detailed account of every action he does on the island in a journal he updates daily. In this journal, Crusoe meticulously records every step for all of the tools he crafts, and he writes about his own progress with his newly acquitted relationship with religion. This Robinson Crusoe is much more in tune with his own reality and interested in his own accomplishments than Foe’s Cruso. This is also evident in the number of tools and objects that Robinson Crusoe makes in comparison to Cruso. Robinson Crusoe fills his multiple homes with various types of pots, tables, chairs, fences, and even a canoe. All of these items Crusoe builds are to improve and aide in his growth on the island, and he must be mentally sharp in order to build these items. Cruso in Foe has not put any effort towards building tools, as he only has a bed when Susan arrives at the island, and from the quote, it seems like he may not have the mental capacity to build these tools. Although Cruso does builds many terraces, he exclaims that they are for the future generations and not himself.

Question:2

Friday's Characteristics and persona in Foe and in Robinson Crusoe? 

In Robinson Crusoe

FRIDAY: A handsome, about 26 years old, with straight and strong limbs, tall and well-shaped fellow whose bare name is Friday , which he got for the memory of the day he was rescued.

The native was saved from certain death by Robinson Crusoe during one of the cannibal rituals of a local tribe. By the man who was actually on his way to Africa to buy Negroes!

In my opinion, Friday’s total submission released Robinson from the sort of guilt and the need to use violence. He was Crusoe’s slave because he was saved by him and lifelong servitude was accepted by Robinson. The servant-master relationship was symbolically sealed by an oath, a substitute for the written contract.

In Foe

Friday slowly emerges as the heart of the novel. He is a slave who lives on the island with the man who is ostensibly his master. Cruso says that a slaver cut out Friday's tongue many years ago and Cruso never taught Friday any language beyond the most rudimentary instruction. This inability to communicate leaves Friday trapped in a silent world. Friday leaves the island and travels to England but it is only at the novel's end that he comes close to being able to express himself. The journey toward this act of self-expression emerges as the narrative of the novel. Friday attempts to express himself in a number of different ways. He ritually scatters petals on the sea, he plays music on his homemade flute, and he performs frenzied dances. Friday imbues these actions with a private meaning that is unknown to the rest of the world. Susan is the only person who attempts to glean meaning from these actions but she fails to understand their significance. Friday is shut inside his silent world even when he is trying to communicate. Friday eventually learns to write. Though he can only write a single letter over and over, it is the first step toward a shared understanding of Friday's pain. Foe and Susan provide Friday with a voice by teaching him to write. Meaning no longer has to be projected onto Friday's actions. He finally possesses the tools to make the world understand his pain.

Question:3

Is Susan reflecting white mentality of Crusoe

( Robinson Crusoe)? 

In Part Three Susan has assumed the position of an author; she speaks the language of 

authority and acts in control. The narrative of Cruso with Foe in charge of casting it the right 

way shifts hands and comes to the possession of Susan. Her reflections on the art of storytelling 

are authorial and political. She is open to those elements which will make her island experience a 

worthy, readable narrative. There are unanswered questions in the narrative and like any good 

craftsman of fiction she wants to address those mysteries. “I ask these questions because these 

are the questions any reader of our story will ask” (86). Susan proves adept at manipulating 

words symbolizing narrative power.

Which is reflecting the power of master narrative like white master always as a powerful person. 

In the very beginning he is described by Susan as having a “flat face”, “small dull 

eyes”, a “broad nose” and “thick lips” . . . “He reached out and with the back of his hand 

touched [Susan’s] arm. He is trying my flesh, I thought” . On page 104, when Susan finds 

Friday sleeping as a “normal” human she is surprised, because she thought that “savages 

[sleep] with one eye open” . Further, when travelling to Bristol they find a dead baby in 

a ditch and Susan then imagines Friday eating the corpse of the baby. During the same

journey they go into an alehouse and they are not being served because of Friday’s skin 

colour and of his lack of shoes.Moreover, on the island Friday is treated as a servant by 

Cruso, he is taught no more than the few words which are needed to serve the white man. As 

stated by Cruso “Friday [has] no need of words” . 

On the boat, during their way back to London, Susan forces the crew to let Friday 

sleep close to his “master’s” door. This can be interpreted as a way of having him among the 

people he knows, but at the same time he has to sleep outside Cruso’s door, like a dog. Susan 

says that “he would rather sleep on the floor at his master’s feet than on the softest bed in 

Christendom” . 

The indication of Friday’s lack of a tongue is another example of treating him like a 

savage, because the “savages” were not supposed to have language or history. Gayatri 

Chakravorty Spivak says in her article “Theory in the Margin: Coetze’s Foe Reading Defoe’s 

Crusoe/Roxana” that “barbarians by definition do not speak language” . Friday’s 

muteness symbolizes the lack of voice of the colonised people. Susan’s thoughts about Friday being a cannibal indicate how she is affected by the Western world’s prevailing idea of the African’s and other colonized nations’ savagery (Kehinde 99). When inhabiting Foe’s house together with Susan, Friday dances his “dervish dance” (Jiménez 13) dressed in Foe’s robe and a wig. During his spinning the robe stands around his body and Susan sees his nakedness underneath and she assumes that he is castrated, “unmanned” (Coetzee 119). Since the book almost exclusively contains Susan’s own interpretations and conclusions, the reader does not know for sure if Friday really lacks his 

“manhood” and his tongue. By being black, Friday is already the Other and the probable lack of his “manhood” deepens his subjugation. Thus, his “lack” of rationality deepens as well: he is black, without voice and he is not properly male either. Friday does not speak, but he has several other ways of expressing himself. On the island Susan hears him playing a kind of flute. Later she sees him floating on a log of wood in the sea scattering flowers, and in London he spins around disguised in Foe’s robe and a wig. When handed a piece of chalk, Friday starts drawing eyes with feet. All these things are his means of communication, but is there anyone to listen? Susan, albeit trying to learn his story and set him free, does not seem to understand or does not care for what Friday is trying to say. 

Susan coming England with Friday she trying make him educated, dressed like Englishman learn Dance and many others things like she was also white master of Friday. 

Midnight's Children

Hello readers:) This is response blog task given by Dr. Dilip Barad in this thinking activity is point ponder. 

Midnight's Children is a 1981 novel by British-Indian writer Salman Rushdie, published by Jonathan Cape with cover design by Bill Botten, about India's transition from British colonial rule to independence and partition. It is a postcolonial, postmodern and magical realist story told by its chief protagonist, Saleem Sinai, set in the context of historical events. The style of preserving history with fictional accounts is self-reflexive.

Movie Adaptation

Midnight's Children is a 2012 film adaptation of Salman Rushdie's 1981 novel of the same name. The film features an ensemble cast of Satya Bhabha, Shriya Saran, Siddharth Narayan, Ronit Roy, Anupam Kher, Shabana Azmi, Kulbhushan Kharbanda, Seema Biswas, Shahana Goswami, Samrat Chakrabarti, Rahul Bose, Soha Ali Khan, Anita Majumdar and Darsheel Safary. With a screenplay by Rushdie and directed by Deepa Mehta, the film began principal photography in Colombo, Sri Lanka, in February 2011 and wrapped in May 2011. Shooting was kept a secret as Mehta feared protests by Islamic fundamentalist groups. 

The film was shown at the Toronto International Film Festival, the Vancouver International Film Festival, and the BFI London Film Festival. The film was also a nominee for Best Picture and seven other categories at the 1st Canadian Screen Awards, winning two awards.

Salman Rushdie

Sir Ahmed Salman Rushdie CH FRSL (born 19 June 1947) is an Indian-born British-American novelist.His work often combines magical realism with historical fiction and primarily deals with connections, disruptions, and migrations between Eastern and Western civilizations, typically set on the Indian subcontinent.

Rushdie's second novel, Midnight's Children (1981), won the Booker Prize in 1981 and was deemed to be "the best novel of all winners" on two occasions, marking the 25th and the 40th anniversary of the prize.

After his fourth novel, The Satanic Verses (1988), Rushdie became the subject of several assassination attempts and death threats, including a fatwa calling for his death issued by Ruhollah Khomeini, the supreme leader of Iran. Numerous killings and bombings have been carried out by extremists who cite the book as motivation, sparking a debate about censorship and religiously motivated violence. On 12 August 2022, a man stabbed Rushdie after rushing onto the stage where the novelist was scheduled to deliver a lecture at an event in Chautauqua, New York.

In 1983, Rushdie was elected a fellow of the Royal Society of Literature. He was appointed a Commandeur de l'Ordre des Arts et des Lettres of France in 1999.Rushdie was knighted in 2007 for his services to literature.In 2008, The Times ranked him thirteenth on its list of the 50 greatest British writers since 1945.Since 2000, Rushdie has lived in the United States. He was named Distinguished Writer in Residence at the Arthur L. Carter Journalism Institute of New York University in 2015. Earlier, he taught at Emory University. He was elected to the American Academy of Arts and Letters. In 2012, he published Joseph Anton: A Memoir, an account of his life in the wake of the events following The Satanic Verses.

1.Narrative Technique

Salman Rushdie is undoubtedly one of the most Famous novelists in Present time His second novel Midnight's children received greater critical acclaim and made Rushdie a famous literary figure in the English speaking world. The Novel won for him Booker of Booker Prize in 1993. He uses First Person Narration, and different techniques from other contemporary writer.  Rushdie also uses tools like Magic Realism and cinematic elements use Bollywood as Indianized tools His use of Indian words like ekdym ,angrez, Firangee and especially I Like very much is Tickety-too. Also the Narration of Novel is like a Russian doll, Box in Box ,story within story. in movie flashbacks are used.

2 character

There are some characters which are left out in the film  adaptation. It is hard to describe every character in the film.

Character from movie

Satya Bhabha as Saleem Sinai

Shriya Saran as Parvati

Siddharth Narayan as Shiva

Darsheel Safary as Saleem Sinai (as a child)

Anupam Kher as Ghani

Shabana Azmi as Naseem

Neha Mahajan as Young Naseem

Seema Biswas as Mary

Charles Dance as William Methwold

Samrat Chakrabarti as Wee Willie Winkie

Rajat Kapoor as Aadam Aziz

Soha Ali Khan as Jamila

Rahul Bose as Zulfikar

Anita Majumdar as Emerald

Shahana Goswami as Amina

Chandan Roy Sanyal as Joseph D'Costa

Ronit Roy as Ahmed Sinai

Kulbhushan Kharbanda as Picture Singh

Shikha Talsania as Alia

Zaib Shaikh as Nadir Khan

Sarita Choudhury as Indira Gandhi

Vinay Pathak as Hardy

Kapila Jayawardena as Governor

Ranvir Shorey as Laurel

Suresh Menon as Field Marshal

G.R Perera as Astrologer

Rajesh Khera

Salman Rushdie, narrator

Here is the link for the characters in the novel.Click here

Here are the list of character from the novel who didn't appear in the film.

-Padma

-Sonny Ibrahim

-Commander Sabarmati

-Lila Sabarmati

-Homy Carrack

-Alice Pereira

-Nalikar Women

-Ramram Sheth

3.Themes and Symbol

Silver Spittoon

The silver spittoon given to Amina as part of her dowry by the Rani of Cooch Naheen is responsible for Saleem’s loss of memory. Even when he has amnesia, however, Saleem continues to cherish the spittoon as if he still understands its historical value. Following the destruction of his family, the silver spittoon is the only tangible remnant of Saleem’s former life, and yet it too is eventually destroyed when Saleem’s house in the ghetto is torn down. Spittoons, once used as part of a cherished game for both old and young, gradually fell out of use: the old men no longer spit their betel juice into the street as they tell stories, nor do the children dart in between the streams as they listen. The spittoon is the symbol of a vanishing era, which, in retrospect, seemed simpler and easier. And so, although Saleem may not be able to recall the specific association between the spittoon and his family, the spittoon maintains its symbolic quality as both a container of memory and source of amnesia.

Knees and Nose

Saleem Sinai’s large, bulbous nose is a symbol of his power as the leader of the Midnight Children’s Conference, which is comprised of all children born on the moment of India’s independence from British rule. His nose makes his power of telepathy possible, and this is how he communicates with the other children of midnight (who all have varied powers of their own). Saleem inherits his rather large, and perpetually congested, nose from his grandfather, Aadam Aziz, who also uses his nose to sniff out trouble. Saleem’s nasal powers begin after an accident in his mother’s washing-chest, in which he sniffs a rogue pajama string up his nose, resulting in a deafening sneeze and the instant arrival of the voices in his head. Saleem’s power of telepathy remains until a sinus surgery clears out his nose “goo.” After his surgery, Saleem is unable to further commune with the other children. Ironically, after Saleem’s nasal congestion is gone, he gains the ability to smell emotions, and he spends much time categorizing all the smells he frequently encounters.One of Midnight's Children and many important character in Novel and movie Shiva represent power of Knees all midnight children have various power Shiva have power of powerful knees he is able to kill anyone he was used his power to control others in movie he was many times hit Saleem by their power also he was used his power killed several slams who are lived in Delhi and try to killed saleem for the powerful rulers. 

Pickle:

Saleem largely manages to preserve his life through storytelling, offering a bit of immortality to a dying man, and he also labels and stores each chapter he writes in a pickle jar, so that they may be read later, by his son for example. This connection between pickles and the preservation of stories endures until the very end of the book, when Saleem ceremoniously labels his very last pickle jar as a way of closing out his story and his life as a whole.Sometimes Rushdie trying to give all chapter are jar of pickle and one by one it is open  you can smell the history. Saleem was manager of a pickle factory. It is like preserving and destroying history. 

Perforated sheet:

In the movie we have seen two times The perforated sheet through which Aadam Aziz falls in love with his future wife performs several different symbolic functions throughout the novel. Unable to see his future wife as a whole, Aadam falls in love with her in pieces. As a result, their love never has a cohesive unit that holds them together. The second use we see while the performance of singing by Jamila.

4.And the fourth point is the texture of the novel.

We see the good attempt by Salman Rushdie and Deepa Mehta. The film is not told in chronological order, but it is told in flashback. When Saleem remembered something he told the audience and listener. And then come back to real life from that flashback. Whole story is told by Saleem. And he described the things that he felt. This is my interpretation of the novel and film adaptation. 

 

Well some symbols are used very closely in some movies, like Taj Mahal. But Salman Rushdie and Deepa Mehta haven't took very close up scene of Taj Mahal. That we can see in the movie,Tajmahal central to periphery. 

 

5.We had a screening of the movie . The initial impression is impressive. Salam Rushdie as the narrator and writer tried to capture it very well in the film. To cover everything in one movie is hard to maintain. When we read a novel it takes a lot of time, but we can watch a movie in 2 or 3 hours. But when we read the whole novel it describes the deep ideas, but the movie can not present everything in comparison to the novel. And Rushdie's novel is the novel which can be presented in web series. But the film adaptation is good. All Characters acted like real life incidents. Their dialogues are also well knighted and have interconnection with each other.Reading Novel is like peel off the petal of onion when watch movie is clear cut significant of scene. Rushdie novel is story within story but movie go with only flash back. 

An Introduction

Hello reader :) This is a response blog task given by my teacher Post independent Indian English literature with a poem by Kamala Das-An Introduction. My teacher's task is to pick any one line/word/phrase/thought/idea from that and write your own version of it in the form of poetry, excerpt, paragraph (prose), story, or any literary piece. 

Kamala Das

Kamala Surayya (born Kamala; 31 March 1934 – 31 May 2009), popularly known by her one-time pen name Madhavikutty and married name Kamala Das, was an Indian poet in English as well as an author in Malayalam from Kerala, India. Her popularity in Kerala is based chiefly on her short stories and autobiography, while her oeuvre in English, written under the name Kamala Das, is noted for the poems and explicit autobiography. She was also a widely read columnist and wrote on diverse topics including women's issues, child care, politics, etc. Her liberal treatment of female sexuality, marked her as an iconoclast in popular culture of her generation. On 31 May 2009, aged 75, she died at Jehangir Hospital in Pune.

Original poem line. 

I was child, and later they

Told me I grew, for I became tall, my limbs

Swelled and one or two places sprouted hair.

 This line from Original poem now I try to write one Small Paragraph of My Thinking.

I was child and later they told me i grew…This line is very significant For teenagers who lived in India and Indian culture Society over Parents are treated us like that or not only parents but others Like relatives neighbors Such people If we take decision they told as You are child and if they are wants to take us like we take our decision with our own way they told us now You are grow to take your decision. If we behave like child they told see your age you are grow don't behave like that (example: you like lollipop, you laugh front of any one any situation, you seen your favorite things you can't control yourself, you eat food like child) in those situation you are grown but if told go to trip with friends, you wants relationship, you want your favorite course, taking your career decision then you are child. When You take. Personal decision about life: you are a child no Matter your age. If they want you to agree with their decision then they are told now you can grow up a child of this society always feeling like a sandwich. Rollercoaster with parents and own life decision and this is the big problem of indian generation. 

Curse of Karna

Hello reader :) This is a response blog task given by my teacher. We have the paper of Pre Independence Indian English literature unit 2 The Curse of Karna. I am given three answers. 

Thyagaraja paramasiva kailasam-hailed as a great humourist and one of the doyens of kannada literature

 T P Kailasam (1884 to 1946), begins in southern Karnataka, where he was born (in the then Mysore state) on 29th July, in a Tamil speaking family. He spent part of his schooling days in Chennai. In college, he secured the first rank in BA and won the Cromarty Prize. Awarded the Damodaras Scholarship by the Mysore Government, he travelled to London in 1909 for higher studies in Geology. Returning to India in 1915 as a gold medallist in Geology from the Royal Geological Society, London, he gave up his job at the Government Geology Department in Mysore. In his own words, Kailasam remained ‘unemployed and unemployable’ for the rest of his life, dedicating it instead to his passion, creating literary works in Kannada. He also chaired the Kannada Sahitya Sammelana held in Madras in 1945.

1.Interpret the end of all Acts and Scenes.

In play there are five acts in the real text Line First page with title one line An in impression of Sophocles in five Acts

Act-1

Starts with Ragma's Aasrama

POOR karna ! Poor, Poor, karna All the Act and with this line.

This line is very significant with the Life Of karna he have Curse  with no mistake he was victim by Many people also he has doing nothing then by birth living in sootha family he was Suffered. 

Karna was Marginalised by gurus, warriors, princess, kings Many people he was only able speak  "A Brahmin's Curse"

In his life he was having his great Teacher curse

Ramaa

IF EVER YOU SHOULD HENCEFORTH 

SORELY NEED THE USE OF ARMS 

YOU’VE LEARNT OF ME.......THE BAREST 

TALK, THE MEREST THOUGHT OF THY 

SUPPOSED SOOTHA BIRTH CROSSING THY 

MIND...WILL SWELL THY HEART TO 

SENSE OF SHAME, WILL DULL THINE EYES AND MIND, NUMB AND PARALYSE 

THY LIMBS BEYOND THEIR PO’WR_ TO 

HELE. THER. MAKEN THES SLIGHTEST, 

SMALLEST USE OF KNOWLEDGE THAT 

YOU’VE LEARNT OF ME! AVAUNT! 

AVAUNT!, ERE I INFLICT A FURTHER 

CURSE ON THEE! 

2.Karna-The voice of subaltern

It is said that whatever is not described in the Mahabharata does not exist, even the Ramayana and all the 

Puraanas are summarized in this epic. The greatest of all Puraanas, the Srimad Bhagavata Maha Puraana are 

present there in Mahabharata. There are so many characters in the great epic Mahabharata but Karna comes 

across as the most evocative one. One cannot but be awed by his towering personality and sheer strength of 

character, and at the same time help to identify oneself with the moments of frailty in his tragic life. It is the 

realistic mix of nuances that makes Karna such a credible and lifelike character. The intriguing story of a hero 

who despite being born to royalty was brought up lovingly by a lowly charioteer and his wife, his whole life was 

one great struggle against cruel destiny and all the odds placed in his way by the inequities of his time.

The story of Karna begins with the misfortune of his secret birth and unfolds itself amidst the unremitting 

gloom of injustice and insult. A long time ago, a beautiful young princess named Kunti lived with her Uncle, 

King Kuntibhoj, in a lovely palace along the banks of a wide river. One day Maharishi Durvasa visited the palace 

of Kuntibhoja. He stayed there for almost a year. During his stay Kunti was given the responsibility of attending 

to his needs. Kunti served the Maharishi with great reverence without caring for her own comfort. The sage had a 

very peaceful and happy stay and wanted to reward Kunti for her services. Maharishi said, “Child, one day you 

will need the help of the Gods. I am going to teach you a secret mantra for inviting the Gods into your life. Be 

very careful with this mantra! Use it wisely.” (Sperling, 5) Early the next morning Kunti was playing by herself 

in the royal garden. The sun had risen and Kunti watched its rays touched a flower here, a leaf there. She felt its 

warmth on her skin. She thought about the Sun God waking up the whole world. Forgetting her promise to 

Durvasa, she began to recite the mantra. She closed her eyes and concentrated the way she had been taught to 

summon the Sun-God Surya who is compelled to give her a child, fearful that a child conceived before marriage 

may ruin her reputation, Kunti places the child- born with natural armour and divine earrings- in a wicker basket. 

She coated the basket with the wax to make it waterproof, and lined it with layers of the silk to make it soft and 

warm. She placed the baby carefully in his new bed and carried the basket to the river. Then she kissed him good-

bye and set the basket afloat and whispered, “May the Sun-God watch over you always and keep you safe. May 

you find parents who will love you and care for you.” 

Downstream, Adhiratha was sitting on a rock, hoping to catch a fish for the midday meal. He was a 

gentleman, a charioteer by trade, and his wife Radha was a gentle and good woman. They were often sad, 

however, for they were unable to have children. Adhiratha cast the line out over the river and sighed again, he 

waded out into the current and caught hold of the basket. His surprise knew no bounds when he discovered the 

sleeping newborn baby inside the boat. When Radha saw the tiny baby lying peacefully asleep, she was 

overjoyed and said to her husband, “Swamy, it seems that our prayers have been answered. We will keep this 

baby and bring him up as our own” (Zutushi, 60). He replied I agree with you. He is a gift from God in answer to 

our prayers. In fact, he himself is Godlike with these divine earrings and armor. After consultation with the 

Brahmins, he was named Vasushena since he was wearing a Vasu Varma (signifying rich armor; the signification 

of ‘wealth’ in his name was further validated by his legendary generosity later in adult life). He also came to be 

known as Radheya or the son of Radha, and more famously as Karna (signifying ear, because he was born with 

the divine earrings). Radheya was outgrowing like every other young boy of his age in the village. With hisspecial features and personality, anybody could see that the boy did not quite belong to the category of ordinary 

village lads. Because of his strength and skills at any kind of game, nobody would mess up with him and he 

became a natural leader in the village. Although he soon lose interest in the games that other boys played, while 

at home he would shape beautiful clay toys. Outside the home he would be interested in wrestling or cut stout 

branches of trees, shaping them into bows and arrows and shooting them at imaginary targets. Seeing his son in 

such getup Adhiratha decided to provide him a formal education. Adhiratha was particularly tense, as he recalled 

how Dronacharya had initially refused to do anything with a Suta Putra (charioteer’s son), and how he had to 

seek the intervention of King Dhritarashtra himself. Even after the royal intercession, Guru Dronacharya had only 

agreed to impart basic education and training in arms to his son. In due course both father and son entered the hut 

of Guru Dronacharya and touched his feet with due reverence. Karna was lodged in the section reserved for 

ordinary pupils and away from the section reserved for princes and other high caste students. After a few days 

when Adhiratha visited his son in his lodgings, he found him tense and somewhat angry as well. Before entering 

the room he had assured him that his son was very bright and a quick learner. But on entering the room he found 

him in a different frame of mind which made him apprehensive. On being asked, Karna started asking all sorts of 

questions with his father. He asked, “Baba is it a crime to be a Suta-Putra? Why do scriptures sanction this class-

based discrimination? Why the princes and other so-called upper-class students should be given better food, 

better lodgings, and better education as compared to students like me, who seem to have an inborn stigma 

attached to their names? Where does my fault lie in all this?” (Zutushi, 68) Similarly, this scenario is also denoted 

by the term ‘subaltern’ conventionally denotes an inferior military rank, it is more generally used as ‘a name for 

the general attribute of subordination in South Asian society’ often expressed in terms of caste and gender as it is 

being acquired at birth and is non-changeable. The term ‘Subaltern’ was coined by Ranjit Guha and later it 

was adopted by Marxist Antonio Gramsci and further it was discussed by Gayatri Chakravorty Spivak in her 

essay ‘Can the Subaltern Speak?’ People consider Subaltern as the unrepresented group of people in the 

society, people of inferior race, not fit for making any real contribution to the society and therefore they cannot 

speak, but in reality subaltern can speak but others do not have the patience to listen to them and same can be 

seen with Karna, he is capable but he ultimately he is Suta Putra. 

In real life he was Kshatriya, son of Princess Kunti and Sun. He was known as a Radhey sootha putra by birth his suffering is start he was innocent but for the caste he was victimized by others he was very brave and skilled soldiers but first Dronacharya denied to teach for his caste then he made fake identity as a brahmin for taking all the vidya from Ramaa(Parshuram) after taking Shiksha one day Ramaa know the truth they gave him curse he was forget this vidya on the time of battle then karna survive his life only Suyodhana was soft corner or friend of karna he give his one kingdom. Draupadi Swayamvaar was also able to win the competition but Draupadi refused to marry sootha putra. For any human this is very terrible judging by caste not by abilities. He was rusticated by Pandavas in the battlefield performance of kings and their vidyas. In the time of Draupadi's Chirharan he was the only man who was against those things he forgot he was the friend of Suyodhana and Draupadi denied to marry him then his care for a woman. 

If we see karna voice of subaltern in his whole life he was speak only one thing "A Brahmin's Curse" If we seen as colonial aspect the life colonized people also like curse they have curse on humanity like suffering by their color, culture, language, name of civilization and other many things in one line he was speak about whole subaltern people this is curse. 

3.Interpretation of Myths- Deconstruction

In the text which we are studying by T. P. Kailasam The curse of Karna he was Deconstruction Myth four times. 

Guru of Karna in the Mahabharat he was known as Parshuram in this text his name was Ramaa. 

Sometimes Ramaa felt the guilt to curse karna in myth there was no guilt. 

In the myth Draupadi has some soft corner for karna but in the text she was a bit arrogant princess. 

In the myth karnas most important friend known as a Duryodhan in text he was Suyodhana.