Gausvami Surbhi's Blog

                                                                    Language, Gender and Power Presented by: 1} Surbhi Gausvami (M.A. SEM: 3) E-mail: gausvamisurbhi17@gmail.com Mobile: 7490920184 2} Dharaba Gohil (M.A. SEM: 3) E-Mail: dharagohil2907@gmail.com Mobile: 9574488401 Smt. S. B. Gardi, Department of English Maharaja Krishnkumarsinhji Bhavnagar University. Abstract:          An attempt has been made in this paper to enquire if women experience linguistic discrimination which reduces them to invisible frail creatures devoid of individual identity. Gender is not same as sex. The latter is being biologically male or female. Gender is constructed while sex is given. It is through language that we construct gender. We have vocabulary related to the behavior of izzat, haya, sharm etc. All these words are given to only particular gender that is female.          According to French philosopher Jacques Derrida, we always find a binary opposi

      A.K. Ramanujan as a Translator and/or Translation Theorist Name: Gausvami Surbhi A. SEM: 4 M.A English. Smt. S. B. Gardi, Department of English Maharaja Krishnkumarsinhji Bhavnagar University. Email: gausvamisurbhi17@gmail.com Mobile: 7490920184 # Abstract:   An attempt has been made in this paper to investigate the theory and methods that A.K Ramanujan used in Translation. A.K. Ramanujan was remarkable translator who helped foreign readers to appreciate the beauty of ancient Indian texts other than the Sanskrit ones. A.K. Ramanujan occupies a unique position among Indian and postcolonial theorists and practitioners of translation.   This paper explores how Ramanujan was well aware of his responsibilities of having to convey the original to the target reader and also of having to strike a balance between the author's interest and his own interest. His task was made all the more difficult when it came to the translation of ancient Tamil or Kann

Hamlet Hamlet, Prince of Denmark  has remained the most perplexing, as well as the most popular, of William Shakespeare’s tragedies. Whether considered as literature, philosophy, or drama, its artistic stature is universally admitted. To explain the reasons for its excellence in a few words, however, is a daunting task. Apart from the matchless artistry of its language, the play’s appeal rests in large measure on the character of Hamlet himself. Called upon to avenge his father’s murder, he is compelled to face problems of duty, morality, and ethics that have been human concerns through the ages. The play has tantalized critics with what has become known as the Hamlet mystery, that of Hamlet’s complex behavior, most notably his indecision and his reluctance to act. Freudian critics have located Hamlet’s motivation in the psychodynamic triad of the father-mother-son relationship. According to this view, Hamlet is disturbed and eventually deranged by his Oedipal jealous

The Bluest Eye  Toni Morrison, author, professor, editor, and speaker, has penned novels, works of nonfiction, children’s books, and other works. In 1988, she won the Pulitzer Prize in fiction for her novel  Beloved . Morrison’s work has been instrumental in opening doors for a mainstream readership of African American literature. Her works are known for their exposure of racial issues through strong characterization, difficult themes, and varied points of view.  The Bluest Eye , her first novel, is based on the memory of a childhood acquaintance’s desire for blue eyes. One of Morrison’s common themes is community versus the individual. This theme confronts race issues through the consideration of the individual as other and the examination of a community’s unwillingness to provide for or support the oppressed. Early in  The Bluest Eye , Claudia MacTeer relates how she and her sister Frieda learn about their community. Their conversation is like a gently wicked danc

The Hairy Ape Considered one of America’s greatest twentieth century dramatists by scholars and critics alike, Eugene O’Neill was awarded four Pulitzer Prizes, as well as the 1936 Nobel Prize in Literature. The son of actor James O’Neill, he was educated at private schools and briefly at Princeton; after six months of illness in a tuberculosis sanatorium, he enrolled in George Pierce Baker’s playwriting course at Harvard University, an experience that solidified O’Neill’s determination to be a playwright. The Hairy Ape , a long one-act play containing eight scenes, was written in 1921 and performed in March of 1922. Its background lies in O’Neill’s own sojourn at sea, and its burly central figure, Yank, is patterned after Robert Driscoll, a stoker acquaintance of O’Neill who was similarly proud of his physical strength. Driscoll’s suicide at sea prompted O’Neill to imagine the factors that might have led to it. The play explores the place of human beings in the univ