In This Thing Called the World Debjani Ganguly theorizes the contemporary global novel and the social and historical conditions that shaped it. Ganguly contends that global literature coalesced into its current form in 1989, an event marked by the convergence of three major trends: the consolidation of the information age, the arrival of a perpetual state of global war, and the expanding focus on humanitarianism. Ganguly analyzes a trove of novels from authors including Salman Rushdie, Don DeLillo, Michael Ondaatje, and Art Spiegelman, who address wars in Iraq, Afghanistan, and Sri Lanka, the Palestinian and Kashmiri crises, the Rwandan genocide, and post9/11 terrorism. These novels exist in a context in which suffering's presence in everyday life is mediated through digital images and where authors integrate visual forms into their storytelling. In showing how the evolution of the contemporary global novel is analogous to the European novel’s emergence in the eighteenth century, when society and the development of capitalism faced similar monumental ruptures, Ganguly provides both a theory of the contemporary moment and a reminder of the novel's power.
One prevalent socio-cultural structure that is peculiar to South Asia is caste, which is broadly understood in socio-anthropological terms as an institution of ranked, hereditary and occupational groups. This book discusses the enigmatic persistence of caste in the lives of South Asians as they step into the twenty-first century. It investigates the limits of sociological and secular historical analysis of the caste system in South Asia and argues for ways of describing life-forms generated by caste on the subcontinent that supplement the accounts of caste in the social sciences. By focusing on the literary, oral, visual and spiritual practices of one particular group of ex-untouchables in western India called ‘Mahars’, the author suggests that one can understand caste not as an essence that is responsible for South Asia’s backwardness, but as a constellation of variegated practices that are in a constant state of flux and cannot be completely encapsulated within a narrative of nation-building, modernization and development.
In This Thing Called the World Debjani Ganguly theorizes the contemporary global novel and the social and historical conditions that shaped it. Ganguly contends that global literature coalesced into its current form in 1989, an event marked by the convergence of three major trends: the consolidation of the information age, the arrival of a perpetual state of global war, and the expanding focus on humanitarianism. Ganguly analyzes a trove of novels from authors including Salman Rushdie, Don DeLillo, Michael Ondaatje, and Art Spiegelman, who address wars in Iraq, Afghanistan, and Sri Lanka, the Palestinian and Kashmiri crises, the Rwandan genocide, and post9/11 terrorism. These novels exist in a context in which suffering's presence in everyday life is mediated through digital images and where authors integrate visual forms into their storytelling. In showing how the evolution of the contemporary global novel is analogous to the European novel’s emergence in the eighteenth century, when society and the development of capitalism faced similar monumental ruptures, Ganguly provides both a theory of the contemporary moment and a reminder of the novel's power.
This study looks at the rich literature that has been spawned through the historical imagination of Bengali-speaking writers in West Bengal and Bangladesh through issues of homelessness, migration and exile to see how the Partition of Bengal in 1947 has thrown a long shadow over memories and cultural practices. Through a rich trove of literary and other materials, the book lays bare how the Partition has been remembered or how it has been forgotten. For the first time, hitherto untranslated archival materials and texts in Bangla have been put together to assess the impact of 1947 on the cultural memory of Bangla-speaking peoples and communities. This study contends that there is not one but many smaller partitions that women and men suffered, each with its own textures of pain, guilt and affirmation.
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