Angl-Am - User contributions [en]

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-02-01T00:13:23Z

Amelie Ernst:

''Italic text''==Expert Group on Nation (India)==

'''''Group: Representations of India'''''

'''''Kim'''''

- Crowded societies composed of very different ethnic and cultural groups that live in mixed communities or close proximity

- Less social tension between these groups than between single individuals (cf. Lurgan Sahib‘s hatred on Kim) or between different nations (cf. British vs. Russians in the Great Game)

- British colonial power ensuring harmony?

'''''Untouchable'''''

- High social tension between outcastes and upper castes

- Most prominent example: Bakha touches an upper caste member by accident (cf. p. 46)

- Outcastes forced to announce their approach when they leave their colony

- Social exclusion of other minorities apart from low-caste Hindus (e.g. Mohammedans)

- Injustice and discrimination exerted by upper castes

- Few exceptions (eg. the high-caste Hindu Charat Singh, cf. p. 105-110))

- Counter-movements (Only the Ghandian movement is portrayed in the novel!)

- Role of British colonial power in this conflict?

'''''Midnight's Children'''''

- Multiple ethnic and social groups

- At the beginning of the novel: relative peace between those groups

- Considerable change of this relative harmony as the plot unfolds

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''''Kim and Bakha are symbols for the ongoing national change (Modern India)'''''

- Kim is not in a caste and therefore behaves freely

- Bakha is trying to life like a British

Discussion result:

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

Discussion result:

- The topic of Nation is closely connected to the term „Caste System“.

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

1.)

- '''India:''' Mother India

-''' Characters:''' Bakha's mother /Sohini (B.'s sister)

- '''Features:''' the essence of India; essentially good; knows what its men need; caring; vulnerable

- '''References:'''

→ p. 14 („Indian to the core […] so loving, so good, and withal generous,giving, always giving[...]kindness personified.“)

→ p. 23 („She had sensed with her deep woman's instinct the feeling in her brother's soul. He was tired. He was thirsty.“)

→ p. 31 („Her father was abusing her“)

2.)

- '''India:''' Father India = Old India

- '''Characters:''' Lakha (B.'s father)/ Rakha (B.'sbrother)/ Gulabo

- '''Features:''' fearfully obeying the British; hierarchical thinking (passed down the generations;sometimes distant from Hinduism (under colonialism)

- '''References:''':

→ p. 12 („he is afraid of the sepoys“); 13(„attend to the latrines, or the sepoys will be angry.“)

→ p. 17 („that trait of servility […] he had inherited from his forefathers, the weakness of the down-trodden“)

→ p. 85 („ They all ate from the same basket […] not apportioning the food in different plates as the Hindus do, for the original Hindu instinct for cleanliness had disappeared long ago.“)

3.)

- '''India:''' Empire in India

- ''' Characters:''' The „Tommies“ - patronizing India(ns)

- '''Features:''' influencing India; imposing a different worldview on India

- '''References:'''

→ p. 121 („of the band of Christian missionaries“)

→ p. 9 („The Tommies had treated him as a human being“)

→ p. 9 („he had learnt to think of himself as superior to his fellow-outcastes.“)

Christianity: Colonel Hutchinson

4.)

- '''India:''' Modern India

- '''Characters:''' Bakha / Chota / Ram Charan / Havildar Charat Singh / Babu's sons

- '''Features:''' admiration for the British; copying the British; slightly false in their demeanor; not living strictly after caste hierarchy

→ p. 9 („had been caught by the glamour of the ' white man's ' life“)

→ p. 10 („Bakha was a child of modern India.“)

→ p. 11 („he tried to copy them in everything“)

→ p. 96 („they were not altogether unconscious of the falseness of their istinct“)

→ p. 97 („among the trio they had banished all thought of distinction.“)

5.)

- '''India:''' Liberal India

- '''Characters:''' Gandhi / The poet / Barrister-at-Law

- '''Features:''' taking (positive) British influence back to India; humanitarian; educated; highly estimating fairness & equality; desire to revolutionize India

- '''References:'''

→ p. 155 („the flush system […] a casteless and classless society“)

→ p. 145 („The British Government sought to pursue a policy of divide and rule in giving to our brethren of the depressed classes seperate electorates“)

→ p. 147 („a sin to regard anyone bon in Hinduism as polluted“)

→ p. 141 („We are willing to do all we can

'''Representation of India in Untouchable as shown on our handout could also be interpreted as follows:'''

- Instead of the division into ''Mother India'' and ''Father India'', those two parts could function as one so-called ''Old India'', since Bakha's mother, father and his sister
Sohini all sort of stick to the traditional way of life in India.

- ''Modern India'' could possibly be called and seen as ''Young India'', since Bakha and his friends such as Chota and Ram Charan represent the new generation with modern views and the urge to be different

- Another way to interpret our so-called ''Liberal India'' is to rename it into ''Intellectual India''. Through persons like Gandhi and the poet the difference between educated and uneducated people in India is made even clearer. Bakha does not understand a lot of what they talk about, which results from low education.

- We also discussed the option to even put ''Modern/Young India'' and ''Liberal/Intellectual India'' together and understand it as the ''New India'', supported by the thought of education and bringing forward the country in several ways, such as religion, education, humanity etc.

- We even have the option to see ''Empire India'' and ''Modern India'' as one part called only ''Modern India'', whereas ''Liberal India'' stays as it is.

- The role of our so-called ''Empire in India'', namely the British, still remains unclear even after our discussion: Did they suppress the Indians in a way or hinder them in their way of life? Did they even bring forward the wish for change and innovation? Can it be seen as a connection between “Old India” and “Modern India”?

Of course: Depending on the person who makes the distinctions the interpretation of India in the novel “Untouchable” can differ from other points of view.

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-02-01T00:12:54Z

Amelie Ernst:

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-02-01T00:11:59Z

Amelie Ernst:

''Italic text''==Expert Group on Nation (India)==

'''''Group: Representations of India'''''

'''''Kim'''''

- Crowded societies composed of very different ethnic and cultural groups that live in mixed communities or close proximity

- Less social tension between these groups than between single individuals (cf. Lurgan Sahib‘s hatred on Kim) or between different nations (cf. British vs. Russians in the Great Game)

- British colonial power ensuring harmony?

'''''Untouchable'''''

- High social tension between outcastes and upper castes

- Most prominent example: Bakha touches an upper caste member by accident (cf. p. 46)

- Outcastes forced to announce their approach when they leave their colony

- Social exclusion of other minorities apart from low-caste Hindus (e.g. Mohammedans)

- Injustice and discrimination exerted by upper castes

- Few exceptions (eg. the high-caste Hindu Charat Singh, cf. p. 105-110))

- Counter-movements (Only the Ghandian movement is portrayed in the novel!)

- Role of British colonial power in this conflict?

'''''Midnight's Children'''''

- Multiple ethnic and social groups

- At the beginning of the novel: relative peace between those groups

- Considerable change of this relative harmony as the plot unfolds

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''''Kim and Bakha are symbols for the ongoing national change (Modern India)'''''

- Kim is not in a caste and therefore behaves freely

- Bakha is trying to life like a British

Discussion result:

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

Discussion result:

- The topic of Nation is closely connected to the term „Caste System“.

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

1.)

- '''India:''' Mother India

-''' Characters:''' Bakha's mother /Sohini (B.'s sister)

- '''Features:''' the essence of India; essentially good; knows what its men need; caring; vulnerable

- '''References:'''

→ p. 14 („Indian to the core […] so loving, so good, and withal generous,giving, always giving[...]kindness personified.“)

→ p. 23 („She had sensed with her deep woman's instinct the feeling in her brother's soul. He was tired. He was thirsty.“)

→ p. 31 („Her father was abusing her“)

2.)

- '''India:''' Father India = Old India

- '''Characters:''' Lakha (B.'s father)/ Rakha (B.'sbrother)/ Gulabo

- '''Features:''' fearfully obeying the British; hierarchical thinking (passed down the generations;sometimes distant from Hinduism (under colonialism)

- '''References:''':

→ p. 12 („he is afraid of the sepoys“); 13(„attend to the latrines, or the sepoys will be angry.“)

→ p. 17 („that trait of servility […] he had inherited from his forefathers, the weakness of the down-trodden“)

→ p. 85 („ They all ate from the same basket […] not apportioning the food in different plates as the Hindus do, for the original Hindu instinct for cleanliness had disappeared long ago.“)

3.)

- '''India:''' Empire in India

- ''' Characters:''' The „Tommies“ - patronizing India(ns)

- '''Features:''' influencing India; imposing a different worldview on India

- '''References:'''

→ p. 121 („of the band of Christian missionaries“)

→ p. 9 („The Tommies had treated him as a human being“)

→ p. 9 („he had learnt to think of himself as superior to his fellow-outcastes.“)

Christianity: Colonel Hutchinson

4.)

- '''India:''' Modern India

- '''Characters:''' Bakha / Chota / Ram Charan / Havildar Charat Singh / Babu's sons

- '''Features:''' admiration for the British; copying the British; slightly false in their demeanor; not living strictly after caste hierarchy

→ p. 9 („had been caught by the glamour of the ' white man's ' life“)

→ p. 10 („Bakha was a child of modern India.“)

→ p. 11 („he tried to copy them in everything“)

→ p. 96 („they were not altogether unconscious of the falseness of their istinct“)

→ p. 97 („among the trio they had banished all thought of distinction.“)

5.)

- '''India:''' Liberal India

- '''Characters:''' Gandhi / The poet / Barrister-at-Law

- '''Features:''' taking (positive) British influence back to India; humanitarian; educated; highly estimating fairness & equality; desire to revolutionize India

- '''References:'''

→ p. 155 („the flush system […] a casteless and classless society“)

→ p. 145 („The British Government sought to pursue a policy of divide and rule in giving to our brethren of the depressed classes seperate electorates“)

→ p. 147 („a sin to regard anyone bon in Hinduism as polluted“)

→ p. 141 („We are willing to do all we can

'''Representation of India in Untouchable as shown on our handout could also be interpreted as follows:'''

- Instead of the division into ''Mother India'' and ''Father India'', those two parts could function as one so-called ''Old India'', since Bakha's mother, father and his sister Sohini all sort of stick to the traditional way of life in India.

- ''Modern India'' could possibly be called and seen as ''Young India'', since Bakha and his friends such as Chota and Ram Charan represent the new generation with modern views and the urge to be different

- Another way to interpret our so-called ''Liberal India'' is to rename it into ''Intellectual India''. Through persons like Gandhi and the poet the difference between educated and uneducated people in India is made even clearer. Bakha does not understand a lot of what they talk about, which results from low education.

- We also discussed the option to even put ''Modern/Young India'' and ''Liberal/Intellectual India'' together and understand it as the ''New India'', supported by the thought of education and bringing forward the country in several ways, such as religion, education, humanity etc.

- We even have the option to see ''Empire India'' and ''Modern India'' as one part called only ''Modern India'', whereas ''Liberal India'' stays as it is.

- The role of our so-called ''Empire in India'', namely the British, still remains unclear even after our discussion: Did they suppress the Indians in a way or hinder them in their way of life? Did they even bring forward the wish for change and innovation? Can it be seen as a connection between “Old India” and “Modern India”?

Of course: Depending on the person who makes the distinctions the interpretation of India in the novel “Untouchable” can differ from other points of view.

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-02-01T00:07:17Z

Amelie Ernst:

==Expert Group on Nation (India)==

'''''Group: Representations of India'''''

'''''Kim'''''

- Crowded societies composed of very different ethnic and cultural groups that live in mixed communities or close proximity

- Less social tension between these groups than between single individuals (cf. Lurgan Sahib‘s hatred on Kim) or between different nations (cf. British vs. Russians in the Great Game)

- British colonial power ensuring harmony?

'''''Untouchable'''''

- High social tension between outcastes and upper castes

- Most prominent example: Bakha touches an upper caste member by accident (cf. p. 46)

- Outcastes forced to announce their approach when they leave their colony

- Social exclusion of other minorities apart from low-caste Hindus (e.g. Mohammedans)

- Injustice and discrimination exerted by upper castes

- Few exceptions (eg. the high-caste Hindu Charat Singh, cf. p. 105-110))

- Counter-movements (Only the Ghandian movement is portrayed in the novel!)

- Role of British colonial power in this conflict?

'''''Midnight's Children'''''

- Multiple ethnic and social groups

- At the beginning of the novel: relative peace between those groups

- Considerable change of this relative harmony as the plot unfolds

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''''Kim and Bakha are symbols for the ongoing national change (Modern India)'''''

- Kim is not in a caste and therefore behaves freely

- Bakha is trying to life like a British

Discussion result:

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

Discussion result:

- The topic of Nation is closely connected to the term „Caste System“.

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

1.)

- '''India:''' Mother India

-''' Characters:''' Bakha's mother /Sohini (B.'s sister)

- '''Features:''' the essence of India; essentially good; knows what its men need; caring; vulnerable

- '''References:'''

→ p. 14 („Indian to the core […] so loving, so good, and withal generous,giving, always giving[...]kindness personified.“)

→ p. 23 („She had sensed with her deep woman's instinct the feeling in her brother's soul. He was tired. He was thirsty.“)

→ p. 31 („Her father was abusing her“)

2.)

- '''India:''' Father India = Old India

- '''Characters:''' Lakha (B.'s father)/ Rakha (B.'sbrother)/ Gulabo

- '''Features:''' fearfully obeying the British; hierarchical thinking (passed down the generations;sometimes distant from Hinduism (under colonialism)

- '''References:''':

→ p. 12 („he is afraid of the sepoys“); 13(„attend to the latrines, or the sepoys will be angry.“)

→ p. 17 („that trait of servility […] he had inherited from his forefathers, the weakness of the down-trodden“)

→ p. 85 („ They all ate from the same basket […] not apportioning the food in different plates as the Hindus do, for the original Hindu instinct for cleanliness had disappeared long ago.“)

3.)

- '''India:''' Empire in India

- ''' Characters:''' The „Tommies“ - patronizing India(ns)

- '''Features:''' influencing India; imposing a different worldview on India

- '''References:'''

→ p. 121 („of the band of Christian missionaries“)

→ p. 9 („The Tommies had treated him as a human being“)

→ p. 9 („he had learnt to think of himself as superior to his fellow-outcastes.“)

Christianity: Colonel Hutchinson

4.)

- '''India:''' Modern India

- '''Characters:''' Bakha / Chota / Ram Charan / Havildar Charat Singh / Babu's sons

- '''Features:''' admiration for the British; copying the British; slightly false in their demeanor; not living strictly after caste hierarchy

→ p. 9 („had been caught by the glamour of the ' white man's ' life“)

→ p. 10 („Bakha was a child of modern India.“)

→ p. 11 („he tried to copy them in everything“)

→ p. 96 („they were not altogether unconscious of the falseness of their istinct“)

→ p. 97 („among the trio they had banished all thought of distinction.“)

5.)

- '''India:''' Liberal India

- '''Characters:''' Gandhi / The poet / Barrister-at-Law

- '''Features:''' taking (positive) British influence back to India; humanitarian; educated; highly estimating fairness & equality; desire to revolutionize India

- '''References:'''

→ p. 155 („the flush system […] a casteless and classless society“)

→ p. 145 („The British Government sought to pursue a policy of divide and rule in giving to our brethren of the depressed classes seperate electorates“)

→ p. 147 („a sin to regard anyone bon in Hinduism as polluted“)

→ p. 141 („We are willing to do all we can

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-02-01T00:04:35Z

Amelie Ernst:

==Expert Group on Nation (India)==

'''''Group: Representations of India'''''

'''''Kim'''''

- Crowded societies composed of very different ethnic and cultural groups that live in mixed communities or close proximity

- Less social tension between these groups than between single individuals (cf. Lurgan Sahib‘s hatred on Kim) or between different nations (cf. British vs. Russians in the Great Game)

- British colonial power ensuring harmony?

'''''Untouchable'''''

- High social tension between outcastes and upper castes

- Most prominent example: Bakha touches an upper caste member by accident (cf. p. 46)

- Outcastes forced to announce their approach when they leave their colony

- Social exclusion of other minorities apart from low-caste Hindus (e.g. Mohammedans)

- Injustice and discrimination exerted by upper castes

- Few exceptions (eg. the high-caste Hindu Charat Singh, cf. p. 105-110))

- Counter-movements (Only the Ghandian movement is portrayed in the novel!)

- Role of British colonial power in this conflict?

'''''Midnight's Children'''''

- Multiple ethnic and social groups

- At the beginning of the novel: relative peace between those groups

- Considerable change of this relative harmony as the plot unfolds

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''''Kim and Bakha are symbols for the ongoing national change (Modern India)'''''

- Kim is not in a caste and therefore behaves freely

- Bakha is trying to life like a British

Discussion result:

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

Discussion result:

- The topic of Nation is closely connected to the term „Caste System“.

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

1.)

- '''India:''' Mother India

-''' Characters:''' Bakha's mother /Sohini (B.'s sister)

- '''Features:''' the essence of India; essentially good; knows what its men need; caring; vulnerable

- '''References:'''

→ p. 14 („Indian to the core […] so loving, so good, and withal generous,giving, always giving[...]kindness personified.“)

→ p. 23 („She had sensed with her deep woman's instinct the feeling in her brother's soul. He was tired. He was thirsty.“)

→ p. 31 („Her father was abusing her“)

2.)

- '''India:''' Father India = Old India

- '''Characters:''' Lakha (B.'s father)/ Rakha (B.'sbrother)/ Gulabo

- '''Features:''' fearfully obeying the British; hierarchical thinking (passed down the generations;sometimes distant from Hinduism (under colonialism)

- '''References:''':

→ p. 12 („he is afraid of the sepoys“); 13(„attend to the latrines, or the sepoys will be angry.“)

→ p. 17 („that trait of servility […] he had inherited from his forefathers, the weakness of the down-trodden“)

→ p. 85 („ They all ate from the same basket […] not apportioning the food in different plates as the Hindus do, for the original Hindu instinct for cleanliness had disappeared long ago.“)

3.)

- '''India:''' Empire in India

- ''' Characters:''' The „Tommies“ - patronizing India(ns)

- '''Features:''' influencing India; imposing a different worldview on India

- '''References:'''

→ p. 121 („of the band of Christian missionaries“)

→ p. 9 („The Tommies had treated him as a human being“)

→ p. 9 („he had learnt to think of himself as superior to his fellow-outcastes.“)

Christianity: Colonel Hutchinson

4.)

- '''India:''' Modern India

- '''Characters:''' Bakha / Chota / Ram Charan / Havildar Charat Singh / Babu's sons

- '''Features:''' admiration for the British; copying the British; slightly false in their demeanor; not living strictly after caste hierarchy

→ p. 9 („had been caught by the glamour of the ' white man's ' life“)

→ p. 10 („Bakha was a child of modern India.“)

→ p. 11 („he tried to copy them in everything“)

→ p. 96 („they were not altogether unconscious of the falseness of their istinct“)

→ p. 97 („among the trio they had banished all thought of distinction.“)

Liberal India - Gandhi

- The poet

- Barrister-at-Law

- taking (positive) British influence back to India

- humanitarian

- educated

- highly estimating fairness & equality

- desire to revolutionize India

→ p. 155 („the flush system […] a casteless and classless society“)

→ p. 145 („The British Government sought to pursue a policy of divide and rule in giving to our brethren of the depressed classes seperate electorates“)

→ p. 147 („a sin to regard anyone bon in Hinduism as polluted“)

→ p. 141 („We are willing to do all we can

2009-10 AM Fictions of India - Expert Group on Protagonists/Characters

2010-01-31T23:37:31Z

Amelie Ernst:

==Expert Group on Protagonists/Characters==

'''What is his main goal? Does he follow the spiritual journey just to disguise himself for the Great Game?'''

It is difficult to say what his “main goal” actually is because everyone can read the story in a different way. Important here is how someone would interpret the importance of the Spiritual Journey or Kim’s participation in the Great Game. It is not obvious what seems to be more important for him(self).

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''Kim'''

- is not in a caste and therefore behaves freely

- is a part of colonialism as he is a native born English and takes
part in the Great Game.

- got his power through birth (being English and therefore being
independent of the caste system)

- uses his talents for his own purpose

- is open-minded towards: Mohammedans, Hindus, Buddhists

'''Bakha'''

- is trying to life like a British

- his whole life is influenced by colonialism as he admires the British
and their lifestyle and tries to imitate them

- is predominantly powerful in his job which nevertheless does not
influence other parts of his life

- works for the sake of his family

- is open-minded towards: Mohammedans, Hindus, Christians

'''Questions'''

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

- how does Kim feel about christianity? → no clear hints in
the book

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: the representation of India and of Bakha's consciousness)''

'''Different possible solutions for Bakhas future or his escape from his untouchability:'''

1.)Christianity because when leaving Colonel Hutchinson he considers Jesus as good → does he take it as a serious option?

2.)technical innovation because Bakha listens carefully to the academics' talk, after Gandhi’s speech, who are discussing a drainage system. Considering this, Bakha is excited to
speak about this technical innovation to his father.

3.)Humanity because the topic evolves in the form of Gandhi (see point Humanity) with whom Bakha sympathizes

2009-10 AM Fictions of India - Expert Group on Protagonists/Characters

2010-01-31T23:37:02Z

Amelie Ernst:

==Expert Group on Protagonists/Characters==

'''What is his main goal? Does he follow the spiritual journey just to disguise himself for the Great Game?'''

It is difficult to say what his “main goal” actually is because everyone can read the story in a different way. Important here is how someone would interpret the importance of the Spiritual Journey or Kim’s participation in the Great Game. It is not obvious what seems to be more important for him(self).

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''Kim'''

- is not in a caste and therefore behaves freely

- is a part of colonialism as he is a native born English and takes
part in the Great Game.

- got his power through birth (being English and therefore being
independent of the caste system)

- uses his talents for his own purpose

- is open-minded towards: Mohammedans, Hindus, Buddhists

'''Bakha'''

- is trying to life like a British

- his whole life is influenced by colonialism as he admires the British
and their lifestyle and tries to imitate them

- is predominantly powerful in his job which nevertheless does not
influence other parts of his life

- works for the sake of his family

- is open-minded towards: Mohammedans, Hindus, Christians

'''Questions'''

- are Kim and Bakha passive or active acting towards the national change?

- is their way of acting determined by the caste system?

- how does Kim feel about christianity? → no clear hints in
the book

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: the representation of India and of Bakha's consciousness)''

'''Different possible solutions for Bakhas future or his escape from his untouchability:'''

1.)Christianity because when leaving Colonel Hutchinson he considers Jesus as good → does he take it as a serious option?

2.)technical innovation because Bakha listens carefully to the academics' talk, after Gandhi’s speech, who are discussing a drainage system. Considering this, Bakha is excited to

speak about this technical innovation to his father.

3.)Humanity because the topic evolves in the form of Gandhi (see point Humanity) with whom Bakha sympathizes

2009-10 AM Fictions of India - Expert Group on Religion

2010-01-31T23:31:57Z

Amelie Ernst:

==Expert Group on Religion==

'''Group: Representations of India'''

'''''Kim'''''

- Apparently no religious discrimination within native population

'''- Buddhism'''

- Teshoo Lama

- Respected person who receives food and shelter by the native population

- Less respect paid by the British
“holy man” (p. 87) vs. “old beggar man” (p. 112), “a heathen’s money” (p. 112)

'''- Christianity'''

- Father Victor and Reverend Bennett
“Between himself and the Roman Catholic chaplain of the Irish contingent lay, as Bennett believed, an unbridgeable gulf [...] whenever the Church of England dealt with a human problem she was very likely to call in the Church of Rome.” (p. 85)

- Betrayal of Woman of Shamlegh by a Christian missionary (cf. p. 264)

'''- Portrayal of native “superstition”?'''

- Kim’s search for the Red Bull
“[...] I saw the Bull again with the – the Sahibs praying to it. [...] ‘Officers praying to a bull!’ What in the world do you make of that?’ said Bennett.” (p. 87)

- Huneefa’s rituals

'''''Untouchable'''''

- Religious discrimination of low-caste Hindus and religious minorities (e.g. Muslims) by upper-caste Hindus

- Outcaste Hindus are not able to practice or forget about religious practices
- Religious duty of keeping pure
• Bakha’s attitude towards cleanliness vs. Hindu purity rituals
“[...] those laws of hygiene which are the basis of Hindu piety. [...] Besides there was
scarcity of water [...] they just did without; till sanitation, cleanliness and hygiene had lost
its meaning for them.” (p. 76)

'''- Solutions to religious discrimination'''
- Christian belief presented by Colonel Hutchinson
• Henpecked by his wife, fails to acquaint Bakha with Christianity
- Renewed Hinduism propelled by Ghandi -> joins various social and cultural groups
• Ghandian speech not fully understandable to Bakha, seems unreachable
• critique
“ ‘Ghandi is a humbug [...] In one breath he says he wants to abolish untouchability, in
the other he asserts he is an orthodox Hindu. He is running counter to the spirit of our age, which is democracy. [...] (p. 150)

- Progressive Indian philosophy
- Alternative solution presented by the poet (cf. p. 152-156)

'''''Midnight's Children'''''

- A lot of different religious groups within Indian society

- No consensus within these groups

'''Muslim:'''
- Aadam Aziz: loses his faith right in the beginning (cf. p.4)
- Naseem: conservative, wants the children to be taught according to Islamic
tradition and religion
- Free Islamic Convocation: speaks up against partition of India, is ended by the
assassination of the hummingbird by the Muslim League
- Muslim league: radical Muslims, fighting for partition of India and an own
Muslim state

'''Hindu:'''
- Shiva: Hindu fighting in the Indian army, named after the Hindu god of destruction
- Ravana gang: radical Hindu, terrorizing the Muslims, fighting for partition of
India

'''Saleem:''' although he grows up in a Muslim family he is not interested in religion
-> To which group, if to any of these, does he belong?

'''''Group: Similarities and Contrasts in Kim and Untouchable'''''

'''Kim and Bakha are open minded towards different religions'''

- Kim is open-minded towards: Mohammedans, Hindus, Buddhists

- Bakha is open-minded towards: Mohammedans, Hindus, Christians

Discussion result:

- Religion is presented in the term Caste System

- unanswered: how does Kim feel about christianity? → no clear hints in
the book

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the iedology of the text: The representation of India and of Bakha's consciousness)''

'''Humanity'''

- The book points to the topic of untouchability and portrays that the living-conditions of the untouchables are inhumane:

→ A life of work under and in the caste-system has made a bitter and angry man of his father (p. 13 „The rude bullying order to get up. 'Get up, ohe you Bakha, you son of a pig'“)

→ The kind/sort/manner of description shows that the narrator knows about the circumstances of the sweepers. He names them and compares them to animal-life (p.17 „the passive contentment of the bottom dog suddenly illuminated by the prospect of fulfilment of a seret...desire.“); (p. 17 „the smile of a slave“)

→ The untouchables are being discriminated against, e.g. in lack of education (p. 39 „the headmaster wouldn't teach the outcastes. […] These old Hindus were cruel.“)

-The option of a casteless & classless society is mentioned (p. 155 „a casteless and classless society“)

- Gandhi sympathizes with the untouchables and their problems (p. 147 „if I have to be reborn, I should wish to be reborn as an Untouchable, so that I may share their sorrows)

- Gandhi having been educated in England brings back important insight and a more objective point of view, as well as a different concept on humanity

2009-10 AM Fictions of India - Expert Group on Gender

2010-01-31T23:24:13Z

Amelie Ernst:

==Expert Group on Gender==

'''Group: Representations of Gender'''

'''''Kim'''''

- Keep in mind: Double iconography of the Hindu female

- Alternative female figures:

- Kim‘s caretaker (takes opium)

- The Kulu woman (“She was already ordering, haranguing, rebuking, and it must be said, cursing her servants for delays” (p. 74)
• Dominant BUT benevolent character (nurses Kim back to health, cf. “Mother, I [Kim] owe my life to thee.” (p. 277)

- Huneefa ( portrayed witch-like, cf. p. 179)

- The Woman of Shamlegh (dominating personality in her village, cf. p. 256 and pp. 263-264)

'''''Untouchable'''''

- Keep in mind: Double iconography of the Hindu female

- Female characters that meet the traditional ideal of a devote woman:

- Bakha‘s mother

“He [Bakha] often thought of his mother [...], crouching as she went
about cooking and cleaning the home, a bit too old-fashioned for his
then already growing modern tastes, [...] it seemed that she was not of
his world, had no connection with it.“ (p. 14)

- Sohini tries to replace her mother, inferior role

“[...] he saw that his [Bakha’s] sister was trying to light a fire between two bricks. She was blowing hard at it [...] as she crouched on the mud floor. [...]. She sat back helpless [...]. (p. 21)

“Her father was abusing her, as he now sat on his bed, puff-puffing away at the cane tube [...]” (p. 31)

- Other minor female characters are also bound to the household

'''''Midnight's Children'''''

- Focus on representation of Indian Muslim women

- Dominant characters who possess power to a varying degree and within a certain sector

- Naseem: conservative, religious, dominant partner within the relationship to Aadam;
avoids contact to Western culture

- Jamila: comes into contact with Christianity, becomes role model of “pure” Pakistan

- Padma: […], active audience of Saleem

-> The meaning of “Padma” is “dung”: Why might the author have chosen this name for one of his major female characters?

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

'''Gender: The question of femininity & masculinity in the novel.'''

- Britain is portrayed as a partriarchy patronizing India (?)

- Bakha as brother is patronizing Sohini

- Bakha is turning away from his own father

- Bakha lovingly misses his mother

- strict and obvious division in gender-related charateristics and behaviour among the characters

- Women looking out for their families (Sohini & B.'s mother for Bakha, Gulabo for her son, the Babu's son's mother for her sons)

-Sohini as a “passive sufferer” who is representing the female role of an outcast

→ at the beginning of the novel, Sohini is part of the plot to sustain Indian women's fate
→ why does she stop being part of the story?

2009-10 AM Fictions of India - Expert Group on Gender

2010-01-31T23:23:33Z

Amelie Ernst:

2009-10 AM Fictions of India - Expert Group on Gender

2010-01-31T23:21:47Z

Amelie Ernst:

==Expert Group on Gender==

'''Group: Representations of Gender'''

'''''Kim'''''

- Keep in mind: Double iconography of the Hindu female

- Alternative female figures:

- Kim‘s caretaker (takes opium)

- The Kulu woman (“She was already ordering, haranguing, rebuking, and it must be said, cursing her servants for delays” (p. 74)
• Dominant BUT benevolent character (nurses Kim back to health, cf. “Mother, I [Kim] owe my life to thee.” (p. 277)

- Huneefa ( portrayed witch-like, cf. p. 179)

- The Woman of Shamlegh (dominating personality in her village, cf. p. 256 and pp. 263-264)

'''''Untouchable'''''

- Keep in mind: Double iconography of the Hindu female

- Female characters that meet the traditional ideal of a devote woman:

- Bakha‘s mother

“He [Bakha] often thought of his mother [...], crouching as she went
about cooking and cleaning the home, a bit too old-fashioned for his
then already growing modern tastes, [...] it seemed that she was not of
his world, had no connection with it.“ (p. 14)

- Sohini tries to replace her mother, inferior role

“[...] he saw that his [Bakha’s] sister was trying to light a fire between two bricks. She was blowing hard at it [...] as she crouched on the mud floor. [...]. She sat back helpless [...]. (p. 21)

“Her father was abusing her, as he now sat on his bed, puff-puffing away at the cane tube [...]” (p. 31)

- Other minor female characters are also bound to the household

'''''Midnight's Children'''''

- Focus on representation of Indian Muslim women

- Dominant characters who possess power to a varying degree and within a certain sector

- Naseem: conservative, religious, dominant partner within the relationship to Aadam;
avoids contact to Western culture

- Jamila: comes into contact with Christianity, becomes role model of “pure” Pakistan

- Padma: […], active audience of Saleem

-> The meaning of “Padma” is “dung”: Why might the author have chosen this name for one of his major female characters?

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

'''Gender: The question of femininity & masculinity in the novel.'''

-Britain is portrayed as a partriarchy patronizing India (?)
-Bakha as brother is patronizing Sohini
-Bakha is turning away from his own father
-Bakha lovingly misses his mother
-strict and obvious division in gender-related charateristics and behaviour among the characters
-Women looking out for their families (Sohini & B.'s mother for Bakha, Gulabo for her son, the Babu's son's mother for her sons)
-Sohini as a “passive sufferer” who is representing the female role of an outcast
→ at the beginning of the novel, Sohini is part of the plot to sustain Indian women's fate
→ why does she stop being part of the story?

2009-10 AM Fictions of India - Expert Group on Gender

2010-01-31T23:21:06Z

Amelie Ernst:

==Expert Group on Gender==

'''Group: Representations of Gender'''

'''''Kim'''''

- Keep in mind: Double iconography of the Hindu female

- Alternative female figures:

- Kim‘s caretaker (takes opium)

- The Kulu woman (“She was already ordering, haranguing, rebuking, and it must be said, cursing her servants for delays” (p. 74)
• Dominant BUT benevolent character (nurses Kim back to health, cf. “Mother, I [Kim] owe my life to thee.” (p. 277)

- Huneefa ( portrayed witch-like, cf. p. 179)

- The Woman of Shamlegh (dominating personality in her village, cf. p. 256 and pp. 263-264)

'''''Untouchable'''''

- Keep in mind: Double iconography of the Hindu female

- Female characters that meet the traditional ideal of a devote woman:

- Bakha‘s mother

“He [Bakha] often thought of his mother [...], crouching as she went
about cooking and cleaning the home, a bit too old-fashioned for his
then already growing modern tastes, [...] it seemed that she was not of
his world, had no connection with it.“ (p. 14)

- Sohini tries to replace her mother, inferior role

“[...] he saw that his [Bakha’s] sister was trying to light a fire between two bricks. She was blowing hard at it [...] as she crouched on the mud floor. [...]. She sat back helpless [...]. (p. 21)

“Her father was abusing her, as he now sat on his bed, puff-puffing away at the cane tube [...]” (p. 31)

- Other minor female characters are also bound to the household

'''''Midnight's Children'''''

- Focus on representation of Indian Muslim women

- Dominant characters who possess power to a varying degree and within a certain sector

- Naseem: conservative, religious, dominant partner within the relationship to Aadam;
avoids contact to Western culture

- Jamila: comes into contact with Christianity, becomes role model of “pure” Pakistan

- Padma: […], active audience of Saleem

-> The meaning of “Padma” is “dung”: Why might the author have chosen this name for one of his major female characters?

'''Mulk Raj Anand "Untouchable"''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and of Bakha's consciousness)''

'''Gender: The question of femininity & masculinity in the novel.'''

- Britain is portrayed as a partriarchy patronizing India (?)
- Bakha as brother is patronizing Sohini
- Bakha is turning away from his own father
- Bakha lovingly misses his mother
- strict and obvious division in gender-related charateristics and behaviour among the characters
- Women looking out for their families (Sohini & B.'s mother for Bakha, Gulabo for her son, the Babu's son's mother for her sons)
- Sohini as a “passive sufferer” who is representing the female role of an outcast
→ at the beginning of the novel, Sohini is part of the plot to sustain Indian women's fate
→ why does she stop being part of the story?

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-01-31T23:16:38Z

Amelie Ernst:

2009-10 AM Fictions of India - Expert Group on Nation (India)

2010-01-31T23:14:11Z

Amelie Ernst:

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:12:04Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration''' ''(Group: Impersonal narration and the ideology of the text: The representation of India and Bakha's consciousness)''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.
a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:09:24Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.
a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:09:10Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:08:58Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:08:39Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:08:17Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.a)A sudden manifestation of the essence or meaning of something.
b)A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:08:03Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2.a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:07:37Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2. a) A sudden manifestation of the essence or meaning of something.

b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:07:23Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.

2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:07:05Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:06:36Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.

2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:06:20Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1.Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2.Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:05:47Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this. → cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:05:07Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or
association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this.
→ cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:03:18Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

'''1.1 Modernism'''

Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

'''1.2 Stream of consciousness'''

1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this.
→ cf. p. 51/52

'''1.3 Epiphany'''

1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

'''1.4 Shifts in perspective & narrator's visibility'''

Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

'''1.5 Personal & impersonal narration'''

neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T23:02:06Z

Amelie Ernst:

'''Mulk Raj Anand "Untouchable": Narration'''

1.1 Modernism
Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

1.2 Stream of consciousness
1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this.
→ cf. p. 51/52

1.3 Epiphany
1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

1.4 Shifts in perspective & narrator's visibility
Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

1.5 Personal & impersonal narration
neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T22:59:08Z

Amelie Ernst:

Mulk Raj Anand "Untouchable": Narration

1.1 Modernism
Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

1.2 Stream of consciousness
1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this.
→ cf. p. 51/52

1.3 Epiphany
1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization → cf. p. 52

1.4 Shifts in perspective & narrator's visibility
Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

1.5 Personal & impersonal narration
neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103

2009-10 AM Fictions of India - Expert Group on Narration

2010-01-31T22:58:35Z

Amelie Ernst:

Mulk Raj Anand "Untouchable": Narration

1.1 Modernism
Any of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression; the work or ideas of the adherents of such a movement.

1.2 Stream of consciousness
1. Psychol. An individual's thoughts and conscious reaction to external events experienced subjectively as a continuous flow. Also loosely, an uncontrolled train of thought or association.
2. Literary Criticism. A method of narration which depicts events through this flow in the mind of a character; an instance of this.
→ cf. p. 51/52

1.3 Epiphany
1. A manifestation or appearance of some divine or superhuman being.
2. a) A sudden manifestation of the essence or meaning of something.
b) A comprehension or perception of reality by means of a sudden intuitive realization
→ cf. p. 52

1.4 Shifts in perspective & narrator's visibility
Dominant focalization on Bakha, but: several shifts of perspective (→ cf. p. 22-26) which show us thoughts and feelings of characters other than Bakha which include even minor characters such as Havildar’s cook or the little babu brother in these shifts of perspective.
→ cf. p. 29

Describing the setting, commenting (→ cf. p.58), reporting what characters do not know, do not say (→ cf. p. 102/103)

telling = guide reader's response to fiction
showing = reader experiences fiction on his/ her own → “critical distance”

1.5 Personal & impersonal narration
neutral - restricted (impersonal): The narrator takes no figure‘s perspective.
personal - limited: The narrator takes the perspective of one or several figures.
→ cf. p. 29; 102/103