Department of English

Ashoka University is a private university located in Sonipat, Haryana, India, focusing on liberal arts and sciences. It was established in 2014.&nbsp;It is guided by an academic council of academics and scholars from around the world. The council sets the university&#39;s academic standard, advising on matters of curriculum, faculty hiring and research.&nbsp;

Ashoka University offers a full-time 3 (+ 1) year undergraduate programme. The University comprises of&nbsp;2500 plus students, with a mix of both national and international students.&nbsp; &nbsp;

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Ashoka University

Uneasy Translations: Self, Experience and Indian Literature interweaves the personal journey of an academic into reflections around self, language and translation with an eye on the intangibly available category of experience. It dwells on quieter modes of being political, of making knowledge democratic and of seeing gendered language in the everyday. In an unusual combination of real-life incidents and textual examples, it provides a palimpsest of what it is to be in a classroom; in the domestic sphere, straddling the 'manyness' of language and, of course, in a constant mode of translation that remains incomplete and unconcluded. Through both a poignant voice and rigorous questions, Kothari asks what it is to live and teach in India as a woman, a multilingual researcher and as both a subject and a rebel of the discipline of English. ­She draws from multiple bhasha texts with an uncompromising eye on their autonomy and intellectual tradition. ­The essays range from questions of knowledge, affect, caste, shame and humiliation to other cultural memories. Translation avoids the arrogance of the original; it has the freedom to say it and not be held accountable, which can make it both risky and exciting. More importantly, it also speaks after (anuvaad) rather than only for or instead, and this ethic informs the way Kothari writes this book, breaking new ground with gentle provocations.

Bloomsbury India

Uneasy Translations : Self, Experience and Indian Literature

Consumption is a central problem in Ludwig Tieck's 1838 novella Des Lebens Überfluß. This essay argues that autosarcophagy stands at the imaginary core of a utopian project of secession from nineteenth century social and material relations. Beginning with the tale of the self-devouring criminal that Heinrich relates at the beginning of the novella, eating as a bodily act structures the novella's confrontation with the legacies of German Romanticism and Idealism and the problem of living a decommodified life in an emerging global capitalist order. By exploring the text's utopianism, this essay illuminates the story's more radical political stakes while also situating the novella relative to nineteenth century concerns on the philosophical dimensions of eating.

German Quarterly

Fantastic Consumption and the Utopia of Self-Cannibalism in Ludwig Tieck's Des Lebens Überfluß

Caste has remained implicit in Bollywood, appearing as class or as an unmarked subjecthood located in generalised north Indian identity. Through our article, we seek to understand what might be the grammar of caste representation in the film Manthan, which, in fact, is remembered more as a film about the “Amul experiment,” than about caste. How the word “society” transforms into “sisoti” in the film and how this process of translation leaves the villagers with a residual meaning are analysed in this article. This spillover of meaning eventually helps the characters deconstruct and recalibrate caste relations in the film.

World University root node

Economic and Political Weekly

The Making of ‘Sisoti’:The Churning of Caste Relations in Manthan

What was in the rhetoric of Periyar that moved an entire people in a direction that has continuing political relevance? How does his style respond to concerns about how we may engage within contemporary political formations, especially given that his work continues to resist being co-opted by his detractors? Analysing the formal elements of a 1931 speech by Periyar, delivered at Nagapattinam, I investigate the movements in his rhetoric which repeatedly mobilises the self as a site of political action. I argue that Periyar’s presentation of the self provides a distinct avenue of political engagement that substantiates the notion of inner conflict as crucial to the development of the titular hero in the 2018 Tamil film Pariyerum Perumal. Methodologically, I draw on the work of the relational psychoanalytic thinker D.W. Winnicott; in particular, his concept of ‘playing’, which refers to the creative moment of passionate immediate engagement with the other that opens up a potent space of understanding and is vital for survival. I show how charting out the various dimensions of this moment of creative play in these two works is crucial to further our understanding of the politics of Periyar and the journey of Pariyerum Perumal.

Fulltext

CASTE / A Global Journal on Social Exclusion

Pariyerum Perumal and a Periyarite Note on Political Engagement

Drawing on literary, epigraphical, and archaeological material, this article addresses the interrelation of the performance context, physical form, and aesthetic of ancient Greek puppetry. Puppeteers performed in a variety of contexts, which included processions and public theaters. During religious festivals, they were hired to supplement competitions in drama and music. I classify ancient Greek puppetry into two main types: the phallic puppets used in religious processions in the Eastern Mediterranean, and small-scale puppetry, which was performed in theaters and possibly also in private contexts. I contend that puppetry was not universally considered an insignificant art but was, rather, an important part of the performance culture of the ancient Mediterranean world. The inclusion of puppetry in religious festivals suggests a positive relationship with this art; reactions to puppetry, from laughter to thauma (wonder), align with the aims of the festivals which hosted such performances.

Open Library of Humanities

The Puppet and the Puppet-Master in Ancient Greece: Fragments of an Art Form

Digitizing Faulkner: Yoknapatawpha in the Twenty-First Century

Faulkner from 30,000 feet: Locations, characters, and events in digital Yoknapatawpha

Theatre and Metatheatre: Definitions, Problems, Limits

'Defining paratheatre, from Grotowski to antiquity'

Lal Ded, the fourteenth century Kashmiri female mystic, is revered as a spiritual exemplar by both the Hindus and the Muslims of Kashmir. She walked away from a difficult marriage at the young age of twenty-six to pursue the Śaiva path to spiritual liberation. Lal Ded records her long and arduous spiritual journey in a Kashmiri poetic form, vākh (a short poem of four lines with four stresses in each line), which is also one of the earliest genres of Kashmiri poetry. Even though most scholarship on Lal Ded’s vākhs does invoke her difficult life as a Kashmiri woman in a turbulent political milieu, it rarely poses the question of gender and politics in relation to her mystical poetry. My paper offers a close reading of selected vākhs to argue that the figures of loss (rāvan-tyol, loss-blister), shame (mandchhi hạ̄nkal, iron fetters of shame) and joy (nangaē natsun, dancing naked) in Lal Ded’s mystical poetry can be read not merely as stages on the path of a Śaiva liberation but also as a distinctive proto-feminist perspective on political self-transformation.&nbsp;

South Asian Review

“Dancing Naked”: Gender, Trauma and Politics in the Mystical Poetry of Lal Ded

The invention of paratheatre, as a concept applicable to modern performance, stems from the work of Jerzy Grotowski (1933–1999), Polish avant-garde theatre director, best known for pioneering the ‘Poor Theatre’. In the 1970s, Grotowski pursued a series of investigations into paratheatre, attempting to change the relationship between spectator and spectacle. This paratheatrical research, iterations of which Grotowski called ‘Special Projects’, took place primarily in the Polish countryside, but also in other locations, including Pennsylvania.1 Participants applied, and were chosen for a certain openness to the experience, which involved living in nature, doing various exercises, some of them ritualistic, and not performing for an audience. A core aim was to free actors from artificiality, including the built environment of the theatre, roles separate from the self, and narrative and plot.2 Speaking of Grotowski and the Laboratory Theatre members, Kumiega writes, ‘The activity that encapsulated their search (from 1970– 1978) became known in time as paratheatre: formally, this related to an activity that had its roots in drama, but specifically did not result in a theatrical presentation before an audience. The terms “spectator” and “actor” lost their divisive significance, and both the action and the creation became the collective responsibility’. 3 Grotowski presented the results, which he called ‘University of Research’, in Wrocław in July of 1975, at the Theatre of Nations Festival. This paratheatrical research continued for a few years after that, and the Laboratory Theatre finally disbanded in 1984.

Theatre and Metatheatre

Defining Paratheatre, From Grotowski to Antiquity’

Nund Rishi (1378–1440), or Shaikh Nūr al-Dīn Nūrānī, revered and remembered by most Kashmiris as the ‘Alamdār (flag-bearer) of Kashmir, is one of the most significant figures in the history of religion and literature in Kashmir. The mystical poetry of Nund Rishi is not merely one among the many Muslim literary apocalypses across the Middle East and South Asia, it also constitutes an ‘apocalypse from below’—a vernacular apocalypse that questions religious and political authority in medieval Kashmir. The mystical poetry (shruk) of Nund Rishi transforms the elements of a traditional apocalyptic mode in Islamic eschatology into a vernacular literary apocalyptic. © 2021 South Asian Studies Association of Australia.