School Of Languages, Literature And Culture

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Browsing School Of Languages, Literature And Culture by Author "Chandel, Priyanka"

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    The Construction of the Mythical Subject in PostColonial Context: A Study of Select Indian Plays
    (Central University of Punjab, 2019) Chandel, Priyanka; Saini, Alpna
    The dramatic foundations of postcolonial Indian dramatists are based on the assimilation of colonial dramaturgical practices into the native dramaturgical traditions which have created a new hybrid space. Earlier the native cultural narratives were used to propagate the hegemonic dominance, but now they have been decentered in such a way that they have paved a way to a unique construction of postcolonial subjectivity. The postcolonial writers translate the native myths and incorporate them in the texts through hybridised language and an entirely new perspective and hence, shift the marginalised colonial subjectivities with the unique postcolonial hybrid subjectivities. The postcolonial playwrights incorporate themes such as the existential interrogations and encounters of postcolonial human, fragmentation, hybridity, disillusionment, isolation, the quest for identity, gender issues, philosophical dualism, and construction of subjectivity. The introduction of pre-colonial past in the forms of aboriginal presentation like rituals, myths, folktales, history, music, songs, dance, local settings, and oral style of storytelling, prove to be effective strategies in restructuring the leading practices of western dramaturgy. They have also assimilated in their works the traditions of some of the famous proponents of modern theatres, such as Samuel Beckett, Bertolt Brecht, and Jerzy Growtowski, etc. The translation of the native texts is also used as a technique to construct a new postcolonial subjectivity and the language used for the translation of native texts is an exclusive new form of nativised language, which is neither a western mimetic form nor a completely native one, but an amalgam of both. Thus, the iv postcolonial playwrights have neither applauded nor judged the native myths, but they have explored the consequences of unyielding codes imposed by culture. Thus, an original, hybrid postcolonial subjectivity, based on the interplay of gender, myth, language, and culture emerges through an exploration of the selected texts.
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    Re-Vision of Myths In Post-Colonial Indian English Drama As An Avenue For The Empowerment Of Women
    (Public Knowledge Project, 2018) Chandel, Priyanka; Saini, Alpna
    Literature is one of the devices of articulating culture whereby culture gets recognised through the adaptation of myths. The revision of myths has received unparalleled recognition as a discourse through which identity and relations of power are constructed and negotiated. Myth has been an innate and pivotal part of culture since antiquity. The reliability on ancient myths has been decisive to the level that the progress of a culture in a certain age could be amply sketched through the interpretations of myths. The postcolonial studies share a concern with the creation of novel and more empowering subjectivities for the women who have traditionally been casted as subaltern. The conformist narrative styles are too firm to challenge structural patterns. Thus the revision of myths is an endeavor to annihilate the misrepresentation of female subjectivity in myths. It also helps to offer fresh connotations to the myths, the meanings of which are shared by the society. Two of the most prominent post-colonial dramatists Girish Karnad, Chandrashekhar Kambar and Arun Mukherjee in their respective plays Yayati, Siri Sampige and Mareech, the Legend have succeeded in demystifying the feminine mystique created in the myths which distorted the concept ofthe Indian woman as an individual. These plays outline the course of the construction of female subjectivity which has continued right from the beginning of time.