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Rooh by Manav Kaul

Dissertation - Conclusion

Dissertation - Conclusion

Name: Emisha Ravani

Paper: 210A:

Research Project Writing: Dissertation Writing

Roll no: 07

Enrollment no: 4069206420210031

Email id: emisharavani3459@gmail.com

Batch: 2021-2023(M.A. Sem 4) 

Submitted to: S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Conclusion

This dissertation endeavors to draw a comparison between two distinguished novels that hail from divergent continents and centuries. Despite the geographical and temporal dissimilarities, the literary works share both commonalities and divergences, intriguingly reflecting the essence of universalism and literariness of the authors.

The authors, each in their own right, have produced literary masterpieces that emanate from their own personal experiences. F. Scott Fitzgerald, through his depiction of the protagonist Jay Gatsby, imbues his work with autobiographical elements. Similarly, Chetan Bhagat, through the character of Gopal, depicts the struggles of a budding engineer, thereby adding a touch of realism to his work.

The basics which are put in the table of comparison is like:

The two novels are different in terms of setting and theme. The Great Gatsby is set in the United States in the 1920s, and it explores the decadence and moral decay of the wealthy elite, while Revolution Twenty20 is set in contemporary India and focuses on the aspirations and struggles of the middle class.

In terms of writing style, The Great Gatsby is written in a lyrical and elegant style, with complex and often indirect characterization, while Revolution Twenty20 is written in a more straightforward and conversational style, with simpler and more direct characterization.

In terms of characters, The Great Gatsby is characterised by larger-than-life figures such as Jay Gatsby and Daisy Buchanan, while the characters in Revolution Twenty20 are more relatable, everyday people. The characters in The Great Gatsby are more flamboyant, while those in Revolution Twenty20 are more realistic and grounded in everyday life.

It is important to note that The Great Gatsby and Revolution Twenty20 differ significantly in terms of their approach, style, and characterization.

F. Scott Fitzgerald's classic novel, The Great Gatsby, is a timeless masterpiece that delves into the decadence and moral decay of the wealthy elite in 1920s America. Fitzgerald's writing style is characterized by its lyrical and evocative quality, which imbues the novel with a sense of glamour and grandeur. The novel's setting, the fictional Long Island enclave of West Egg, serves as a backdrop to the larger-than-life characters and their extravagant lifestyles. Through the character of Jay Gatsby, Fitzgerald explores the elusive nature of the American dream and the corrupting influence of wealth and power.

On the other hand, Chetan Bhagat's Revolution Twenty20 is a contemporary novel that is set in India and focuses on the struggles and aspirations of the middle class. Bhagat's writing style is marked by its accessibility and humour, which makes the novel a compelling and engaging read. The novel's setting in the city of Varanasi provides a vivid and realistic portrayal of life in contemporary India, with its myriad challenges and opportunities. Through the characters of Gopal and Raghav, Bhagat explores the complex social and economic forces that shape the lives of the middle class in India, and the tensions and conflicts that arise as they pursue their dreams and aspirations.

While both The Great Gatsby and Revolution Twenty20 share some thematic similarities, they are fundamentally different in terms of their approach, style, and characterization. Fitzgerald's classic novel offers a compelling and insightful exploration of the decadence and moral decay of the wealthy elite in America, while Bhagat's contemporary novel provides a nuanced and empathetic portrayal of the struggles and aspirations of the middle class in India.

Comparative Literature Studies is a discipline that examines connections between different aesthetic forms, cultural traditions, and ideas, without arbitrary stopping at national or linguistic borders. It encompasses literature, visual culture, and cultural production more broadly. Chetan Bhagat is an Indian author who writes about contemporary Indian society, culture, and politics and is known for his simple, straightforward writing style. Francis Scott Fitzgerald was an American author known for his novels exploring wealth, status, love, and decadence during the 1920s and is considered one of the greatest writers of the 20th century. The Great Gatsby and Revolution Twenty20 are two novels that can be compared through their themes and how they reflect their respective times and cultures. The Great Gatsby explores the decadence of the 1920s and the collapse of the American dream, while Revolution Twenty20 deals with issues like corruption, poverty, and unemployment in contemporary India.

As outlined in the introductory chapter, Comparative Literature stands apart from the study of individual literary traditions not solely by way of its methodological approach, but also in its matter, attitude, and perspective. Through its focus on the intersection and overlap of various literary traditions, Comparative Literature provides a uniquely cosmopolitan lens through which to view the complex and nuanced relationships between literary works, genres, and cultures.

One of the key strengths of Comparative Literature lies precisely in its cosmopolitanism. By transcending national, linguistic, and cultural boundaries, this field of inquiry offers a panoramic view of the world's literary traditions, facilitating a more comprehensive understanding of the shared human experiences, themes, and concerns that underpin the world's diverse literary output. This approach enables Comparative Literature scholars to draw upon a rich array of perspectives and insights, and to identify connections and resonances that might otherwise remain obscured.

This cosmopolitanism can also be a source of weakness, particularly when it is not accompanied by a deep understanding of the nuances and complexities of individual literary traditions. Without a thorough grounding in the specific cultural and historical contexts that shape a given literary tradition, Comparative Literature risks reducing works to mere representations of abstract, universal themes, and losing sight of the particularities and intricacies that make each tradition unique.

Despite these challenges, the field of Comparative Literature remains a dynamic and ever-expanding area of inquiry, capable of encompassing the literatures of the entire world. Through its commitment to exploring the complex interplay between literary traditions, Comparative Literature offers a valuable tool for deepening our understanding of both the universal and the particular in literature and beyond.

By engaging in comparative analysis of authors from diverse cultural and historical backgrounds, we can discern the universal human experiences and preoccupations such as the quest for wealth, love, and the American dream, that transcend the boundaries of time and place. This approach allows us to appreciate the distinct nuances and complexities of each society and historical moment, while simultaneously illuminating the shared human condition that unites us all. In this way, the act of comparison can serve as a powerful tool for deepening our understanding of both the universal and the particular in literature and beyond.

The enduring relevance and literary merit of the two novels under examination will be unequivocally demonstrated by their ability to resonate with readers from diverse cultural and temporal contexts, transcending the boundaries of time and place. Their continued popularity and critical acclaim serve as testament to their profound impact on the human psyche, and their ability to speak to the fundamental experiences and concerns that unite us all as a species. Through rigorous study and analysis, we will uncover the universal themes and motifs that have cemented these works as enduring classics, and shed light on the ways in which they continue to shape our understanding of the human condition.

The question of what comparative literature is inevitably arises for those who claim to work in the field. At its simplest, comparative literature entails studying texts across cultures, using an interdisciplinary approach to identify patterns of connection that transcend time and space. It is often a destination arrived at by those who started from different points of departure. Some seek to move beyond the constraints of a single subject area, while others are compelled to explore similarities between texts or authors from different cultural contexts. As Bassnett suggests, comparative literature is a rich and varied field that allows scholars to delve into the complexities of literary works and their global connections.

In this research, the theoretical framework of Genetic Structuralism, as articulated by Goldman, has been deftly applied, thereby providing a rigorous and comprehensive analysis of the key comparison between the literary works under examination. This theoretical approach has not only enriched the research process, but also enabled a nuanced and sophisticated understanding of the complex structures and underlying themes that animate these texts.

Through its emphasis on the interplay between historical and cultural contexts, textual structures, and the creative process of the author, Genetic Structuralism offers a uniquely illuminating lens through which to view literary works. By attending to the intricate details of the text, and exploring the ways in which it is shaped by larger cultural and historical forces, this approach facilitates a more nuanced and comprehensive understanding of the literary work as a whole. By deploying this theoretical framework in the present study, the research has been able to uncover previously unnoticed connections and resonances between the two literary works, and to shed light on the ways in which these works reflect and respond to larger cultural and historical contexts. In so doing, the study not only enriches our understanding of the particular works under consideration, but also demonstrates the value of Genetic Structuralism as a tool for illuminating the complex interplay of history, culture, and literature.

Limitations

The ultimate limit of comparative literature is the literatures of the whole world, meaning that it is open to studying any literature from any culture. This cosmopolitanism is both a strength and a weakness of comparative literature. On the one hand, it allows for a truly global perspective that can reveal new insights into the nature of literature and its relationship to culture. On the other hand, it can be difficult to achieve a deep understanding of multiple literary traditions, and some critics argue that comparative literature can lead to a superficial or reductive approach to complex cultural texts.

This dissertation has some limitations. When delving into the historical events or the background of any particular era, the scope for exploration is vast and boundless. The researcher, in this case, has focused solely on the general events that hold significance for the literary works under analysis. It is plausible that the research may not be as exhaustive and all-encompassing as the expanse of the subject matter may demand. The limitations do not compromise the integrity and significance of the research conducted.

Assignment - “Translation and Literary History: An Indian View” Ganesh Devy

“Translation and Literary History: An Indian View”

Ganesh Devy

Name: Emisha Ravani

Paper: 208: Comparative Literature & Translation Studies

Roll no: 07

Enrollment no: 4069206420210031

Email id: emisharavani3459@gmail.com

Batch: 2021-2023(M.A. Sem 4) 

Submitted to: S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Introduction

Translation studies is an interdisciplinary field of study that explores the theory, history, and practice of translation. It encompasses a range of topics, including the cultural and linguistic aspects of translation, the ethics of translation, the role of translation in society, and the relationship between translation and other disciplines such as literature, linguistics, and philosophy. Translation studies emerged in the 1970s as a distinct academic discipline, and has since developed into a vibrant field with a global community of scholars and practitioners. The field draws on a variety of disciplines, including linguistics, literary studies, cultural studies, philosophy, and anthropology, among others.

One of the key concerns of translation studies is the relationship between language and culture. Translation involves the transfer of meaning from one language to another, and this process inevitably involves cultural differences and nuances. Translation studies seeks to understand how translators navigate these differences, and how they can work to preserve the cultural and linguistic nuances of the original text. Another important area of inquiry in translation studies is the role of translation in shaping literary and cultural history. Translations often play a key role in the circulation and dissemination of literary works across national and cultural boundaries, and can have a profound impact on the reception and interpretation of these works.

Introduction

"Translation and Literary History: An Indian View" is a scholarly essay written by Ganesh Devy, a renowned Indian linguist, literary critic, and activist. Devy argues that translation plays a critical role in shaping literary history and cultural identity. He contends that translation is not merely a linguistic exercise but a political and ideological one, as it involves the transfer of ideas and values from one culture to another. According to Devy, translations are not just secondary works but are integral to the literary canon and literary tradition. Devy also highlights the challenges that translators face in preserving the original cultural and linguistic nuances of a text while making it accessible to readers from a different cultural background. He argues that translators must be familiar with both the source and target cultures and languages, and should be sensitive to the socio-political and historical context in which the original text was written.

Translation and Literary History: An Indian View” Ganesh Devy

‘Translation is the wandering existence of a text in a perpetual exile,’. - J. Hillis Miller

Western metaphysics holds that translation is a form of exile, a departure from the original source. This idea is rooted in the myth of Babel and the subsequent linguistic crisis. As a result, translations are often considered inferior to original works in Western literary criticism, due to their perceived lack of authenticity and temporal distance from the source. Western culture's emphasis on individualism and the notion of guilt further contribute to the devaluation of translations. Translations are often seen as an intrusion of "the other," though some may find pleasure in this encounter.

Unfortunately, this narrow view of translation has limited the Western literary historiography's ability to understand the origins of literary traditions. One significant example of this is the authorized translation of the Bible, which had a transformative impact on the English language and literary style.

Over the past two centuries, translation has played a crucial role in communicating literary movements across linguistic borders. For instance, the Anglo-Irish literary tradition that gave us renowned writers like Shaw, Yeats, Joyce, Beckett, and Heaney owes its origins to the translation of Irish works into English initiated by Macpherson in the late 18th century. Similarly, Indian English literature emerged from the Indological activity of translation during the late 18th and 19th centuries. Many Anglo-Irish and Indian English writers have also been accomplished translators themselves. Likewise, the settler colonies of Australia, Canada, and New Zealand have impressive modern literary traditions that have arisen from the "translation" of settlers from their homelands to foreign locations. In post-colonial writing, translation has proven to be a crucial condition for creativity, as seen in former Spanish colonies in South America, former colonies in Africa, and other parts of the world.

Since most literary traditions originate in translation and gain substance through repeated acts of translation, it would be useful to have a theory of literary translation to support a theory of literary history. However, translations are often perceived as unoriginal, and little attention has been given to the aesthetics of translation. Primary issues related to form and meaning have also not been fully resolved in relation to translation. Critics have not taken a well-defined position about the placement of translations in literary history, whether they belong to the history of the "T" languages or the "S" languages or form an independent tradition. This ontological uncertainty surrounding translations has resulted in a haphazard approach to translation studies that devotes too much energy to discussing problems of conveying the original meaning in an altered structure.

Roman Jakobson in his essay on the linguistics of translation proposed a threefold classification of translations: (a) those from one verbal order to another verbal order within the same language system, (b) those from one language system to another language system, and (c) those from a verbal order to another system of signs (Jakobson, 1959, pp. 232– 9). As he considers, theoretically, a complete semantic equivalence as the final objective of a translation act – which is not possible – he asserts that poetry is untranslatable. He maintains that only a ‘creative translation’ is possible.

It is important to recognize that the concept of synonymy within a single language system cannot be equated with the concept of synonymy between two distinct languages. Structural linguistics considers language as a system of signs, arbitrarily developed, that tries to cover the entire range of significance available to the culture of that language. The signs do not mean anything by or in themselves; they acquire significance by virtue of their relation to the entire system to which they belong. This theory naturally looks askance at translation which is an attempt to rescue/ abstract significance from one system of signs and to wed it with another such system. But language is an open system. It keeps admitting new signs as well as new significance in its fold.

When considering the communication of significance, it is necessary to examine whether systems can become a single open and extended system. If we define translation as a form of communication that conveys meaning, and we accept the structuralist principle that communication is made possible by the nature of signs and their entire system, then it is logical to conclude that translation is the merging of two or more sign systems. Such a merger is feasible because systems of signs are open and susceptible to change.

‘Translating Consciousness’

The idea of a "translating consciousness" and the communities of individuals who possess it are not merely abstract concepts. In many Third World countries, where a dominant colonial language has been given a privileged position, such communities do exist. India is an example of a country where multiple languages are used simultaneously by language communities, creating a continuous spectrum of signs and meaning. The use of multiple languages in translation activities cannot be fully understood through theories of foreign language acquisition that assume a chronological gap and a hierarchical scale in language learning situations. Although Chomsky's linguistic theories include the concept of semantic universals, they represent the farthest limits to which monolingual Saussurean linguistic materialism can be extended. In practice, even in Europe, the translating consciousness treats the source language and target language as parts of a larger and continuous spectrum of intersecting verbal sign systems. However, the structuralist reluctance to acknowledge any non-systemic or extra-systemic core of meaning has resulted in an inadequate concept of synonymy in the West for explaining translation activities. Without a linguistic theory based on a multilingual perspective or on translation practice, Western translation thought overemphasizes the validity of the concept of synonymy.

J.C. Catford presents a comprehensive statement of theoretical formulation about the linguistics of translation in A Linguistic Theory of Translation, in which he seeks to isolate various linguistic levels of translation. His basic premise is that since translation is a linguistic act any theory of translation must emerge from linguistics: ‘Translation is an operation performed on languages: a process of substituting a text in one language for a text in another; clearly, then, any theory of translation must draw upon a theory of language – a general linguistic theory’ (Catford, 1965, p. vii).

Orientalism for the Orient, and anthropology for the rest of the world. In its various phases of

development modern Western linguistics has connections with all these. After the ‘discovery’ of Sanskrit by Sir William Jones, historical linguistics in Europe depended heavily on Orientalism. For a long time afterwards linguistics followed the path of comparative philology. And after Saussure and Lévi-Strauss, linguistics started treating language with an anthropological curiosity. When linguistics branched off to its monolingual structuralist path, comparative literature still persisted in its faith in the translatability of literary texts.

Translation can be seen as an attempt to bring a given language system in its entirety as close as possible to the areas of significance that it shares with another given language or languages.

 Literary translation is not just a replication of a text in another verbal system of signs. It is a replication of an ordered sub-system of signs within a given language in another corresponding ordered sub-system of signs within a related language.

  

The challenges encountered in translation studies are comparable to those in literary history. Both fields grapple with the complexities of the connection between origins and progression. However, just like in translation studies, the question of origin in literary history has not been adequately addressed. It is essential to note that the concept of the origins of literary traditions may require a different perspective from literary communities that have a "translating consciousness." Indian literary communities possess such consciousness, as demonstrated by the fact that modern Indian literatures were founded on translation efforts by individuals such as Jayadeva, Hemcandra, Michael Madhusudan Dutta, H.N. Apte, and Bankim Chandra Chatterjee.

Conclusion 

In contrast to Western Christian metaphysics, Indian metaphysics maintains a belief in the unimpeded transmigration of the soul from one body to another, making repeated birth an inherent aspect of all living creations. In this view, when the soul moves from one body to another, it retains its fundamental significance, and Indian philosophical systems concerning the interrelationship between form and essence, structure and meaning, are guided by this metaphysical perspective. The soul, or significance, is not bound by the laws of time, and therefore, even literary significance is considered ahistorical in Indian thought. Elements such as plot, characters, and stories can be reused by new generations of writers because originality is not the primary criterion of literary excellence in Indian literary theory. If originality were emphasized, a significant number of Indian classics would not pass the test. The actual measure of excellence is the writer's ability to transform, translate, restate, and reinvigorate the original work. As a result, Indian literary traditions are, in essence, traditions of translation.

Works Cited

MAMBROL, NASRULLAH. “Translation Studies – Literary Theory and Criticism.” Literary Theory and Criticism, 15 December 2017, https://literariness.org/2017/12/15/translation-studies/. Accessed 29 March 2023.

Singh, Prof Madhu. “Translation and Literary History: An Indian View” Ganesh Devy.” Translation and Literary History G N Devy, https://udrc.lkouniv.ac.in/Content/DepartmentContent/SM_c30be09c-d6c7-4cd2-a95c-a81119f654eb_6.pdf. Accessed 29 March 2023.

Assignment -Contemporary Literatures in English

 

"Gun Island"- Climate Fiction

Name: Emisha Ravani

Paper: 207:Contemporary Literatures in English

Roll no: 07

Enrollment no: 4069206420210031

Email id: emisharavani3459@gmail.com

Batch: 2021-2023(M.A. Sem 4) 

Submitted to: S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Introduction 

Gun Island, Amitav Ghosh continues to explore the familiar themes of cross-cultural exchange and migration that are present in his earlier works. Environmental concerns such as climate change and pollution are also highlighted, reflecting a continuity from his previous novels, including The Hungry Tide and The Great Derangement. The book follows the journey of Deen, a rare book collector and scholar, who travels from his home in New York to the Sunderbans in West Bengal to uncover the legend of Bonduki Sada-gar, a seventeenth-century merchant known as "The Gun Merchant," and his encounter with Manasa Devi, a mythical snake goddess who represents the conflict between profit and the natural world. In a talk in New Delhi, Ghosh explained that the merchant serves as a metaphor for trade and the pursuit of profit, while the goddess represents the need for restraint and the recognition of the interconnectedness of all living things.

Amitav Ghosh's novel, Gun Island, explores a range of cross-cultural patterns familiar in his previous works. The story uncovers a fascinating piece of history, revealing that the Arabic name for Venice was al-Bunduqevya, which means guns. As a result, Deen, a rare book collector and scholar, sets out on a journey to the Sunderbans in West Bengal to uncover the mystery and legend of the seventeenth-century merchant, Bonduki Sada-gar, translated as "The Gun Merchant." However, Deen soon realizes that the name might not have meant the Gun Merchant, but the Merchant who went to Venice.

Ghosh juxtaposes the Gun Merchant's past with the current reality of illegal Bangladeshi migrants who face strong opposition from Italian authorities. The second part of the novel reveals the hazardous journey of these migrants across the Middle East and Africa. In contrast, the Gun Merchant's journey to Venice was prosperous and devoid of such obstacles. Unlike Ghosh's previous works, women play a more significant role in Gun Island. Cinta, a scholar from Venice, conducts research on the role of Venice in the medieval spice trade from India, while Piya Roy, the cetologist from The Hungry Tide, reappears in the novel as a romantic interest for Deen. Nilima Bose runs a charitable organization called the Badabon Trust, and Lubna, a Bangladeshi immigrant, advocates for illegal migrants' rights.

In Gun Island, Ghosh skillfully blends myth and history, fact and fiction, and creates a diverse set of characters from various countries. The novel contrasts nostalgia for a lost past with the concerns of the present. The story raises environmental issues such as climate change and the dumping of chemical waste into rivers by factories, which is a continuation of the themes in Ghosh's previous works.

Amitav Ghosh

Amitav Ghosh is an Indian author who explores themes of national and personal identity in his novels, using intricate narrative techniques. Born on July 11, 1956, in Calcutta (now Kolkata), Ghosh spent his childhood in various countries due to his father's career as a diplomat, including Bangladesh, Sri Lanka, and Iran. He earned his Bachelor's degree in 1976 and Master's degree in 1978 from the University of Delhi, while also working as a journalist. Later, he pursued a Ph.D. in social anthropology at the University of Oxford, graduating in 1982. Throughout his career, Ghosh has taught at several institutions, including the University of Delhi, the American University in Cairo, Columbia University in New York City, and Queens College of the City University of New York. After joining Harvard University in 2004, he eventually transitioned to full-time writing and divided his time between India and the United States.

Amitav Ghosh is an acclaimed Indian author whose novels explore themes of postcolonialism, identity, and history. His debut novel, The Circle of Reason (1986), follows an Indian protagonist who is falsely accused of terrorism and must flee to northern Africa and the Middle East. The Shadow Lines (1988), a family saga set against the backdrop of India's independence from Britain in 1947, blends postcolonial and postmodern elements and was widely translated.

Ghosh ventured into science fiction with The Calcutta Chromosome: A Novel of Fevers, Delirium, and Discovery (1995), which presents an alternate history of the discovery of malaria. He continued to explore historical and familial narratives in The Glass Palace (2000), a story of Burma's occupation by the British and The Hungry Tide (2004), set in Bengal. The Ibis trilogy, beginning with Sea of Poppies (2009), returns to historical fiction, tracing the journeys of characters aboard a ship carrying indentured laborers and opium during the first Opium War. The series continued with River of Smoke (2011) and Flood of Fire (2015). Ghosh's nonfiction work includes In an Antique Land (1992), a genre-bending memoir that draws on his experiences in a rural Egyptian village, and Dancing in Cambodia, at Large in Burma (1998), The Imam and the Indian (2002), and Incendiary Circumstances: A Chronicle of the Turmoil of Our Times (2005). In his latest novel, Gun Island (2019), Ghosh weaves together myth and contemporary issues such as climate change. With a diverse range of literary styles and subject matter, Ghosh has earned an international readership and critical acclaim.

Cli-fi Novels

Cli-fi, a subgenre of fiction literature, explores the theme of a changing or changed climate. While rooted in science fiction, it also draws on realism and the supernatural to create stories that often feature accelerated pacing punctuated by crisis, an anxious and fearful mood, and settings undergoing dramatic transformations. Unlike traditional science fiction, cli-fi often centers on the emotional arcs of the characters rather than on the action. By exploring fictional solutions to the climate crisis, cli-fi encourages readers to imagine real-life solutions and to emotionally connect with the issue.

The power of storytelling to build emotional resilience is one of the main benefits of cli-fi. Through connecting with characters experiencing the effects of climate change, readers can better imagine themselves experiencing similar effects in the future. Research has shown that a lack of emotional connection to one's future self can prevent individuals from taking actions to mitigate climate change. By presenting potential consequences of climate change, cli-fi can help readers connect emotionally to the issue and potentially drive them to action. Additionally, cli-fi can serve as an alternative starting point for discussions about climate change, making the issue more approachable and relatable to a wider audience. Ultimately, cli-fi has the potential to play an important role in helping society prepare for and address the climate crisis.

In recent decades, literature has embraced eco-criticism, an interdisciplinary movement that delves into critical writings about human-caused environmental damage. As climate change becomes an increasingly pressing topic, fiction writers are addressing it through the popular genre of "cli-fi", or climate fiction. Cli-fi stories use symbols, narratives, and concepts to represent and give meaning to climate change in our society. These works often present apocalyptic views of environmental changes, such as floods, fires, and storms. However, they also reflect on political and social failures to address climate change by framing it in a tangible and concrete narrative that emphasizes the urgency of collective action.

While some cli-fi novels rely solely on apocalyptic narratives, this approach is problematic when it fails to explore the potential for collective action to reverse environmental deterioration. To avoid this pitfall, authors like Amitav Ghosh offer compelling examples of climate fiction that do not shy away from the gravity of climate change, but also highlight the power of individual and collective action. His 2019 novel, Gun Island, is a powerful example of cli-fi that emphasizes both the urgency of the climate crisis and the potential for transformative change through collective action.

Cli-fi - Gun Island

Gun Island, a novel by Amitav Ghosh, intertwines history, culture, and nature in a striking way. The protagonist, Deen Datta, is a Bengali antique book dealer living in New York who, during a trip back home, learns of a Bengali legend from a relative that challenges his knowledge of Indian folklore. This legend, about the Gun Merchant, leads Deen to a temple in the Sundarbans, the mangrove forests in the Bay of Bengal, where he uncovers the full story of the Gun Merchant's travels to escape persecution from the Goddess Manasa Devi. This discovery sets off a personal and literal journey for Deen, who is joined by a marine biologist, Piya, and two teenagers, Tipu and Rafi. Later, his university advisor, Cinta, an Italian professor, also joins the expedition. Their journey takes them from India to Los Angeles and Venice, testing Deen's rationality while exposing the environmental consequences of capitalism. Throughout the novel, Ghosh puts history, culture, and nature on an equal plane, creating a rich and complex narrative that explores the intersection of these three elements.

Climate fiction often uses apocalyptic narratives to convey the urgency and horror of environmental changes. This is also evident in Amitav Ghosh's Gun Island, which briefly references the 2009 cyclone Aila that devastated the Sundarbans. Ghosh highlights the impact of human activity on exacerbating the destruction caused by natural disasters, resulting in permanent social change in the area.

The effects of climatic changes are also evident in Deen's travels to Los Angeles and Venice, where wildfires and rising water levels threaten the cities. Ghosh portrays the disruption of various animal species' distribution patterns due to ecological chaos, particularly with Piya's concern for the dolphins she studies and Deen's encounters with non-native venomous creatures in Venice and LA. These species' migration north is a result of rising temperatures and habitat destruction. It's not only animals that are impacted by climate change; people are also forced to migrate due to a complex interplay of colonial history, capitalism, and environmental degradation. Ghosh deftly weaves these themes together, creating a powerful narrative that explores the devastating consequences of our actions on the planet. Despite the apocalyptic backdrop of Gun Island, Ghosh's central theme revolves around the importance of cultivating a shared sense of humanity that transcends species boundaries. The author posits that humanity's ability to care for and love Mother Earth can only be rekindled by first caring for and loving one another.

Throughout the novel, Ghosh highlights the struggles faced by displaced and migrating humans, particularly through the story of Tipu and Rafi. These two young men, who meet through Deen, embark on a treacherous journey to Europe in search of a better life. Tipu is ambitious and driven, while Rafi has always lived a simple life in a small village in the Sundarbans. The two pay smugglers to transport them from Bangladesh to Turkey, traversing India, Pakistan, and Iran in overcrowded minibuses. Along the way, they are forced to stop at connection houses near borders, where they are extorted for more money to continue their journey.

Ghosh's portrayal of the hardships faced by migrants sheds light on the complex web of socioeconomic and political factors that drive human displacement. Through Tipu and Rafi's story, he challenges readers to confront the harsh reality faced by millions of people around the world and to consider the importance of cultivating a more compassionate, trans-species sense of community.

Gun Island highlights the harsh reality of migration and the plight of those who risk everything for a chance at a better life. This is exemplified by the story of Tipu and Rafi, whose dangerous journey to Europe through multiple countries mirrors the experiences of many migrants. The struggles of migrants do not end when they reach their destination, as they often face discrimination and hostility. In the novel, the Blue Boat episode showcases the ongoing migration crisis in Europe, with the fate of climate refugees left in the hands of policymakers. The atmosphere surrounding the Blue Boat's arrival is tense, with activists and the media on one side and the Navy and anti-immigrant protesters on the other. Ghosh's vivid portrayal of the terrified migrants and their stories adds an emotional depth to the scene, underscoring the urgency of finding humane solutions to the migration crisis.

In Gun Island, Ghosh acknowledges that an apocalyptic narrative can be limiting if it doesn't provide room for transformation and renewal. Thus, his characters are not passive victims of circumstances but rather empowered agents of change. Deen, Piya, Rafi, Tipu, and Cinta travel great distances, braving perilous journeys, in search of better lives. When faced with the most harrowing situations, they do not stand idly by but choose to take action. They come together with other like-minded individuals, determined to help others and create a better future.

Ghosh tackles various pressing issues, such as xenophobia, immigration, climate change, and environmental degradation, in Gun Island. Despite the bleakness of the scenario, the author presents a vision of interconnectedness and collective action that encourages mutual awareness and cooperation. Rather than succumbing to despair and inaction, the characters' ability to connect with one another and form alliances allows them to move beyond their initial passivity and apathy.

Through his portrayal of characters who take responsibility, care for others, and act, Ghosh highlights the potential for social and political projects that prioritize the well-being of individuals and the environment. The novel suggests that by connecting with others and acting collectively, we can create positive change and overcome seemingly insurmountable challenges.

Conclusion

Gun Island is a work of fiction that belongs to the emerging genre of climate fiction or cli-fi. This genre encompasses a wide range of literary works that address the impacts of climate change and environmental degradation on individuals, societies, and the planet. The novel presents a dystopian vision of the world, where natural disasters and human actions have caused irreversible damage to the environment and led to the displacement of people and species. The narrative of Gun Island is centered around the interconnectedness of humans and the environment and how human actions have affected the natural world. The novel highlights the devastating consequences of climate change and environmental degradation, such as rising sea levels, floods, and droughts. It also explores the social and political implications of these environmental changes, such as forced migration, xenophobia, and social inequality.

Works Cited

Farrar, Straus, et al. “Cli-Fi (Climate Fiction) - Climate in Arts and History.” Clark Science Center, https://www.science.smith.edu/climatelit/cli-fi/. Accessed 29 March 2023.

Ghosh, Amitav, and Allison Hedge. “Gun Island by Amitav Ghosh.” World Literature Today, 2019, https://www.worldliteraturetoday.org/2019/autumn/gun-island-amitav-ghosh. Accessed 28 March 2023.

“"Gun Island": When a Climate Novel Speaks to Our Sense of Humanity.” By Arcadia, 28 January 2022, https://www.byarcadia.org/post/gun-island-when-a-climate-novel-speaks-to-our-sense-of-humanity. Accessed 29 March 2023.

Luebering, JE. “Amitav Ghosh | Biography, Books, & Facts | Britannica.” Encyclopedia Britannica, https://www.britannica.com/biography/Amitav-Ghosh. Accessed 28 March 2023.

Assignment - The Mechanics of Writing

 

The Mechanics of Writing

Name: Emisha Ravani

Paper: 209:Research Methodology

Roll no: 07

Enrollment no: 4069206420210031

Email id: emisharavani3459@gmail.com

Batch: 2021-2023(M.A. Sem 4) 

Submitted to: S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Introduction 

Research methodology is the systematic and structured approach to conducting research. It refers to the techniques, procedures, and rules that researchers use to design, carry out, and analyze their studies. Research methodology involves defining the research problem, developing a research plan, selecting appropriate data collection methods, analyzing the data, and drawing conclusions. The methodology used in research may vary depending on the nature of the research problem, the research questions or hypotheses, and the type of data that is being collected. Common research methodologies include qualitative research, quantitative research, mixed-methods research, case study research, action research, and experimental research. In addition to selecting an appropriate methodology, researchers must also consider ethical considerations when conducting research, such as obtaining informed consent from participants, maintaining confidentiality, and minimizing harm or discomfort to participants.

The mechanics of writing refer to the technical aspects of writing, such as spelling, punctuation, grammar, capitalization, and formatting. These mechanics are important because they help ensure that writing is clear, concise, and easy to understand.Mastering the mechanics of writing is essential for effective communication, whether it's for academic or professional purposes. It helps convey ideas more clearly and accurately, and can make a significant difference in how well a piece of writing is received and understood by its intended audience.

What is Research?

“Investigation or experimentation aimed at the discovery and interpretation of facts, revision of accepted theories or laws in the light of new facts, or practical application of such new or revised theories or laws.”

“The collecting of information about a particular subject.”

“Careful or diligent search.”

What is Research Methodology?

“A body of methods, rules, and postulates employed by a discipline : a particular procedure or set of procedures”

“The analysis of the principles or procedures of inquiry in a particular field”

Writing mechanics refer to the set of rules and conventions that govern the technical aspects of writing, such as spelling, punctuation, capitalization, and abbreviations. While it can be challenging to organize your main points, one helpful solution is to create a preliminary draft of your ideas before starting to write. Additionally, some writing resources group topics related to organization and usage under the umbrella of mechanics. In essence, the fundamentals of writing mechanics are essential for both students and writers alike.

"Teachers using a traditional, product-oriented approach tend to focus on the formal mechanical and technical aspects of writing while paying little attention to the individual writer's communicative purposes. Thus with this approach there is a danger that, for many children, writing will become an exercise in formal mechanics divorced from personal content and intentions."

Spelling 

Consistency in spelling, including hyphenation, is necessary, except for quoted material, which should be reproduced exactly as it appears in the original. Please refer to §9 for guidance on selecting and using a dictionary.

1. Word division: It is preferable to avoid dividing words at the end of a line. However, if necessary, North American practice is to divide words according to pronunciation (e.g., "rep-re-sent"), while British practice is to divide according to word derivation (e.g., "re-pre-sent"). Other languages have their own rules for dividing words. For example, French usually divides on a vowel (e.g., "ho-me-rique"; in English, "Ho-mer-ic"). If you are unsure, consult a dictionary.

2. Accents: When quoting, reproduce all accents exactly as they appear in the original. Note that in French, capital letters are not always accented when followed by lowercase letters (e.g., always "école," but "Ecole" is acceptable). While it is never wrong to place an accent over a capital letter that would require one if it were lowercase, the practice of French printers varies when words appear entirely in capital letters. À, É, È, Ù, and capital letters bearing a circumflex are often accented, but often not. When transcribing words that appear in all capitals and changing them to lowercase, insert the necessary accents.

3. Dieresis: For German words, use the dieresis (ä, ö, ü) instead of "e" with umlauts, even for initial capitals (e.g., "Über"). However, observe common usage for names (e.g., Götz, but Goethe).

4. Digraphs: A digraph is a combination of two letters that represents only one sound (e.g., "th," "oa" in "broad"). In many languages, some digraphs appear united in print (æ, œ, ß). They may be transcribed in typescript without any connection between them (e.g., ae, oe, ss). In North American English, the digraph ae has been almost completely abandoned in favor of the letter "e" alone. Therefore, "encyclopedia" and "archeology" (instead of "encyclopaedia" and "archaeology"), as well as "esthetic" and "medieval," are now the norm.

Punctuation 

Punctuation is primarily used to ensure clarity and readability in writing. While there are some optional practices, consistency is crucial in avoiding confusion. The following remarks focus on punctuation conventions in research papers. For more detailed discussions, refer to standard handbooks of composition.

1. Apostrophes are used for contractions (which are rarely acceptable in scholarly writing) and possessives. Monosyllabic proper names ending in a sibilant sound (s, z, sh, zh, ch, j) form their possessive by adding an apostrophe and another s (e.g., Keats's poems, Marx's theories), except for names in classical literature (e.g., Mars' wrath). For words with more than one syllable ending in a sibilant, only an apostrophe is added (e.g., Hopkins' poems, Cervantes' novellas), except for names ending in a sibilant and a final e (e.g., Horace's odes). The possessive of a name ending with a silent s is formed by adding an apostrophe and another s (e.g., Camus's novels).

2. Colons introduce examples, explanations, or elaborations of what has just been said. They are commonly used to introduce quotations (see §§ 14b, 14c, and 14f), and their usage in documentation and bibliography can be found in §§ 31c, 31h, and 41c. Always leave one space after a colon.

3. Commas are usually required between items in a series (e.g., blood, sweat, and tears), between coordinate adjectives (e.g., an absorbing, frightening account), before coordinating conjunctions that join independent clauses, around parenthetical elements, and after fairly long phrases or clauses preceding the main clause of a sentence. They are also conventional in dates (e.g., January 1, 1980), names (e.g., W. K. Wimsatt, Jr., and Walter J. Ong, S.J.), and addresses (e.g., Brooklyn, New York). A comma and a dash should not be used together in modern English usage. If a comma is required (as it is here), it should follow a closing parenthesis, but it should never precede an opening parenthesis. Refer to §§ 31, 33, 35, and 41 for the usage of commas in documentation and bibliography, and to §14f for commas with quotation marks.

• dashes should only be used sparingly and have specific legitimate uses, such as to set off parenthetical elements with multiple commas or before a summarizing appositive.

• Exclamation marks should be used sparingly in scholarly writing.

• Hyphens are used to form certain types of compound words, such as compound adjectives and joining prefixes to capitalized words, and en dashes are used to connect numbers indicating a range.

• Italics should be used with caution and not overly used for emphasis, but are used for foreign words used in English text and linguistic examples.

• Parentheses are used to enclose parenthetical remarks and some items in documentation.

• Periods end sentences and are placed within parentheses when the parenthetical element is independent.

• Quotation marks are used to enclose words to which attention is being directed and single quotation marks are used for definitions or translations that appear without intervening punctuation.

• Semicolons are used to separate items in a series and between independent clauses that are not joined by a coordinating conjunction.

• Slashes are used to separate lines of poetry and elements of dates, enclose phonemic transcription, and occasionally separate alternative words.

• Square brackets are used for unavoidable parentheses within a parenthesis, interpolations in a quotation or incomplete data, and phonetic transcription.

Capitalization 

1.  English. Capitalize the first letter of the first word, the last word, and all principal words in English titles, including divisions of works such as chapters, but excluding articles, prepositions (except as adverbs), conjunctions, and "to" in infinitives. The initial definite article is typically not considered part of the title when referencing magazines or newspapers (e.g., Washington Post). "Series" and "edition" are capitalized only when part of an exact title (e.g., the Norton Critical Edition). Capitalize titles like Preface, Introduction, and Appendix when they refer to a specific work or when formally cited in notes and bibliographies. Abbreviate and capitalize a noun followed by a numeral indicating place in a sequence (e.g., Vol. II of 3 vols., Pl. 4, No. 20, Act V, Ch. iii, Version A), but do not capitalize col., fol., l., n., p., or sig. (see §48 for the meanings of these and other abbreviations). Never capitalize entire words in titles cited in text or notes.

2.  French. In French prose or verse, do not capitalize subject pronoun je 'I', months or days of the week, names of languages and adjectives derived from proper nouns, or titles of people or places, unless they begin a sentence or line of verse. In titles of books, stories, poems, chapters, and the like, capitalize the first word and all proper nouns. If the first word is an article, capitalize the first noun and any preceding adjectives. In titles of series and periodicals, capitalize all major words.

Abbreviations

An abbreviation is a shortened form of a word or phrase, such as "D.C." for "District of Columbia."

Mechanics in writing encompasses several aspects such as spelling, usage, hyphenation, and the use of italics. It also includes conventions like when to capitalize words and how to abbreviate them. In essence, mechanics is a set of rules to follow while writing.

Conclusion 

The importunateness of mechanics in writing cannot be overstated. Mechanics, which includes spelling, grammar, punctuation, capitalization, and abbreviation rules, provides a framework for clear and effective communication. Without proper mechanics, writing can be confusing, difficult to understand, and may even convey a message that is unintentionally different from what the writer intended. Mechanics help ensure that the intended message is conveyed accurately and effectively to the reader, and it can significantly improve the quality and impact of the writing. Therefore, mastering the mechanics of writing is essential for effective communication in various fields, including academics, business, and everyday life.

Works Cited

“Mechanics of Writing - Keir Armstrong.” Carleton University, https://carleton.ca/keirarmstrong/learning-resources/essay-guidelines/mechanics-of-writing/. Accessed 28 March 2023.

“Methodology Definition & Meaning.” Merriam-Webster, 24 March 2023, https://www.merriam-webster.com/dictionary/methodology. Accessed 28 March 2023.

Nordquist, Richard. "The Mechanics of Writing Composition." ThoughtCo, Jul. 19, 2020, thoughtco.com/mechanics-composition-term-1691304.

“Research Definition & Meaning.” Merriam-Webster, 24 March 2023, https://www.merriam-webster.com/dictionary/research. Accessed 28 March 2023.