International Conference on Socio-Cultural Approaches to Translation: Indian and European Perspectives

International Conference

“Socio-Cultural Approaches to Translation:

Indian and European Perspectives”

10 -12 February, 2010

University of Hyderabad, Hyderabad, India.

CALL FOR PAPERS

Background

In recent times translation has taken on a more central role in societies, whether in India or in the rest of the world. Far from being considered as a linguistic activity only it is now seen as bridging, and sometimes broadening, gaps between different cultures. In Translation Studies, its socio-cultural dimension has been taken into account. It has been shown translation may bring new inputs into local cultures to the extent that it may even reshape them. It may develop national cultures to the detriment of more regional ones, or the reverse, or also play ambivalent roles. In contexts where many languages coexist, its role as a vehicle for mediation and communication is sometimes questioned as it may elevate one language to a higher status while downplaying the others. It may reinforce jingoism or enculturation, prejudices or awareness of differences. In other words translation modifies, or preserves, the perception of the other. Hence, translating as an activity and translation as the result of this activity are inseparable from the concept of culture.

From this viewpoint words are not taken for themselves but for their communicative functions. Translation methods and strategies, different linguistic systems and their constraints in terms of meaning and construction, worldviews, etc. are still analyzed, but in so far as they reveal and contribute to a particular case of intercultural communication.

Besides, translations never only affect words. Texts do not appear on their own but accompany or are accompanied by pre-textual elements such as book covers, figures, diagrams, colour, real products, etc. so that translation studies should analyze translations in their overall environments. As can be seen, the concept of translation that is developed here is all-embracing. Is translation only an inter-linguistic process or does it also constitutes an inter-semiotic activity across cultures and languages?

The time has now come to analyze and estimate the socio-cultural value of translation in terms of its contribution to the receiving cultures, and also the translated cultures at times. One of the possibilities to understand a culture is to learn its language(s) and the sign systems operating within it. Another complementary one is to study what parts of it are preserved in translating. Besides being a daily activity, translation is thus a means for understanding and maybe improving inter-linguistic, inter-semiotic and intercultural communication. The question whether cultural synthesis can be achieved deserves attention.

Aim of the conference: This international conference would like to bring together Indian and non-Indian perspectives on translation with a view to setting up a platform for discussion, comparison and long-term collaboration. It aims to analyze how different cultures interact and interfere with one another through translation.

Venue: Centre for Study of Foreign Languages, School of Humanities, University of Hyderabad, Hyderabad, India.

Hyderabad is the capital city of Andhra Pradesh and is served by an international airport.

Organizers

Prof. J. PRABHAKARA RAO, Coordinator, Centre for Study of Foreign Languages, School of Humanities, University of Hyderabad, Hyderabad-500 046, INDIA.

Email: pjandhyala1@gmail.com

Prof. Jean PEETERS, Université de Bretagne-Sud, 4, rue Jean Zay, BP 92 116 , 56 321 Lorient Cédex, FRANCE.

Email: jean.peeters@univ-ubs.fr

Scientific committee

Prof. J. PRABHAKARA RAO, University of Hyderabad, India.

Prof. Pramod Talgeri, Vice-President, Inter-Disciplinary University, Pune

Prof. B.R. Bapuji, CALTS, University of Hyderabad, India

Prof. Jean PEETERS, Université de Bretagne-Sud, France.

Prof. Michel BALLARD, Université d’Artois, France

Prof. Teresa TOMASZKIEWICZ, Adam Mickiewicz University, Poznan, Poland.

Participants

Scholars in the fields of Translation Studies, Cultural Studies, Sociolinguistics, Languages, Indology or with an interest in Intercultural Communication.

Working language: English

Hospitality: The hosting Institution, i.e. Centre for Study of Foreign Languages, University of Hyderabad will provide local hospitality to participants.

Registration fee: Indians: Rs.1,000/-, Non-Indians: Rs.2,000/-

Paper Proposals

The conference encourages paper proposals in relation with the above-mentioned theme.

The deadline for the submission of abstracts is 31^st October, 2009. Participants intending to give a paper should email an abstract of 600 words maximum as an attached file (MSWord format or RTF) to pjandhyala1@gmail.com and jean.peeters@univ-ubs.fr.

The maximum number of papers is 20 (10 Indian and 10 non Indian). The proposals will be assessed by the scientific committee on the basis of their relevance to the conference’s topic.

The scientific committee will return its decision by 30^th November, 2009.

Paper duration

The papers should be no longer than 25 minute and will be followed by 10 minutes for discussion.

Publication

A selection of papers will be published.

*****

Plato's Mimesis

(Class Note – 25th July, 09)

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Plato claims that poetry is very far removed from the truth and hence should be banned from his ideal state. The best known locus for this dramatic gesture is the Socratic dialogue Republic. Socrates, the main character, engages other characters (such as Adeimantus and Glaucon for instance) in discussions regarding moral and philosophical problems.

In the tenth and last book, Plato has Socrates (engaged in a dialogue with Glaucon) reach the conclusion that “we can admit no poetry into our city save only hymns to the gods and the praises of good men.” The reasons poets cannot be accepted into the ideal community are both epistemological and moral, but whatever the reason, they have a word in common: mimesis. Poetry delivers a poor and unreliable knowledge since it is an imitation of another imitation. It is far removed from the truth. The philosopher comes closest to first-hand knowledge of real reality: he can see the form or ideas, or ideal form of things and can therefore disregard imitations.

He begins his justification by illustrating what a true form is. This is popularly understood as platonic realism. The articulation of realism is found in his Republic. It refers to the idea of realism regarding the existence of universals.

Universals were considered ideal forms by Plato. In Platonic realism, universals do not exist in the way that ordinary physical objects exist, but were thought to have a sort of ghostly or heavenly mode of existence; metaphysical existence if you will. It holds that they exist in a broad, abstract sense. Thus, people cannot see or otherwise come into sensory contact with universals, but in order to conceive of universals, one must be able to conceive of these abstract forms. One need not attribute material existence to universals, but merely understand that they are. This is the truest form of anything; the truest form of existence or reality; a sort of metaphysical reality.

One type of universal defined by Plato is the Form or Idea. Although some versions of Platonic realism regard Plato's Forms as Ideas in the mind of God, most take Forms not to be mental entities at all, but rather archetypes (original models) of which particular objects, properties, and relations are copies. Due to the potential confusion of the term idea, philosophers usually use the terms "Form", "Platonic Form", or "Universal".

Forms (or Ideas), and not the material world of change known to us through sensation, possess the highest and most fundamental kind of reality. The Forms are the only true objects of study that can provide us with genuine knowledge.

Forms are related to Particulars (instances of objects and properties), where a Particular is regarded as a copy of its form. For example, a particular tree is said to be a copy of the form of Treeness and the tree’s green color is an instance of the form of Greeness.

There are some forms that are not instantiated (abstractly represented by a tangible example) at all, but, he contends, that does not imply that the forms could not be instantiated. Forms are capable of being instantiated by many different particulars, which would result in the forms' having many copies, or being an innate part of many particulars. The Form is a distinct singular thing but causes plural representations of itself in particular objects. Hence you have the Form ‘Treeness’ and many trees (the Particulars of the Form) existing as proof of this Form.

This Platonic reality can thus mean that universals exist independently of particulars (A universal, as we’ve seen from above, is anything that can be predicated of a particular).

These Forms are the essences of various objects: they are that without which a thing would not be the kind of thing it is. For example, there are countless tables in the world but the Form of tableness is at the core; it is the essence of all of them.

A Form is aspatial (outside the world) and atemporal (outside time). A Form is an objective "blueprint" of perfection. The Forms are perfect themselves because they are unchanging. For example, say we have a triangle drawn on a blackboard. A triangle is a polygon with 3 sides. The triangle as it is on the blackboard is far from perfect. However, it is only the intelligibility of the Form "triangle" that allows us to know the drawing on the chalkboard is a triangle, and the Form "triangle" is perfect and unchanging. It is exactly the same whenever anyone chooses to consider it; however, the time is that of the observer and not of the triangle.

Plato held that the world of Forms (the metaphysical world) is separate from our own world (the world of substances) and also is the true basis of reality. Removed from matter, Forms are the most pure of all things. Furthermore, Plato believed that true knowledge/intelligence is the ability to grasp the world of Forms with one's mind.

The imitation or representation of this true basis of reality of Forms is what is called mimesis.

In developing this in Book X, Plato tells of Socrates' metaphor of the three beds: one bed exists as an Idea/Form made by god (the Platonic ideal/reality); one is made by the carpenter, in imitation of god's idea; one is made by the artist in imitation of the carpenter's.

In simpler words, first there’s the metaphysical world (Ideas/Forms/Real reality); then the world of appearances (world of ‘becoming’/Particulars) and then the world of imitation (Mimesis). It’s this mimetic world that Plato has a problem with. He wants to make a distinction between truth and falsity, right and wrong.

The bed produced by the carpenter is a reproduction of the original (Platonic Idea/ Form) bed (mimesis through imitation), whereas the artist reproduces the carpenter’s copy (mimesis through representation). So the artist's bed is twice removed from the truth. The copier’s only touch on a small part of things as they really are, where a bed may appear differently from various points of view, looked at obliquely or directly, or differently again in a mirror. So painters or poets, though they may paint or describe a carpenter or any other maker of things, know nothing of the carpenter's (the craftsman's) art, and though the better painters or poets they are, the more faithfully their works of art will resemble the reality of the carpenter making a bed, nonetheless the imitators will still not attain the truth (of god's creation).

As culture in those days did not consist in the solitary reading of books, but in the listening to performances, the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre and poetry were not sufficient in conveying the truth. He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth. In the Republic (book X), through Socratic dialogue he warns that poetry should not be regarded as capable of attaining the truth and that we should be on our guard against its seductions, as the poet is very far removed from the concept of truth.

The symbolic target of his attack is Homer. Although, according to Plato, many of his contemporaries thought that Homer knew all technical skills, all human affairs concerned with good and bad and all about the gods as well (598d,e), Plato argued that Homer was a mere imitator of human behavior and did not possess, at least as far as one can tell from his poetry, any expert knowledge. Unsophisticated people, hearing Homer’s poetry recited, think that he is imparting knowledge “because they believe anything said with meter, rhyme, and tune, be it on cobbling or generalship or anything else whatever, is right--so great is the natural charm of poetry” (601a,b). This natural charm of poetic language deludes us into thinking that we are being instructed rather than merely entertained.

The poets, beginning with Homer, far from improving and educating humanity, do not possess the knowledge of craftsmen and are mere imitators who copy again and again images of virtue and rhapsodize about them, but never reach the truth, or even glimpses of this truth, in the way the superior philosophers do. Socrates ofcourse does not say so, but it seems to follow that the carpenter, who copies the original or ideal bed, is much better suited to rule the city than the poets or painters would be. In other words, the artisan should be atleast an adjunct of the philosopher. As Plato has it, truth is the concern of the philosopher only; even if a philosopher’s painstaking labor towards achieving this truth may only allow him glimpses of it.

Why should such mimetic artists be expelled from an ideal community?

Plato’s answer, which applies to our world too, is that mimetic artists do not recognize their limitations, their lack of real knowledge, and they try to instruct us as Homer did. They feel compelled to speak out on matters important to us, and they seduce us with the charm of their words. Their influence on our thinking is therefore far greater than it deserves to be. They are deceptive in the sense that their audience mistakes their imitation for reality.

Gaining real knowledge is a difficult process, one that requires serious labor and much midnight oil (as only laboring philosophers are capable of pursuing through arduous training). It is much easier to listen to the poets and absorb their convictions--much easier than learning mathematics and struggling to gain knowledge and spending years in the process. Hence, the danger poetry poses to society, his ideal state is far too critical to be ignored, and thus, his decision to ban poetry from the ideal state.

(References: Mr.Pinto’s class notes; Plato’s Republic, Stanley Rosen; Articles on Plato, Bruce Aune; Literary Theory and Criticism, Patricia Waugh; Classical Literary Criticism, Penguin Classics; The Norton Anthology of Theory and Criticism, Vincent B. Leitch; Wikipedia)

[The next post will be on Aristotle vs. Plato on Mimesis]

Claude Levi-Strauss on A Structuralist Approach to Oedipus Rex

Click here to download my ppt presentation on Levi-Strauss' Structuralist Analysis of Oedipus Rex

Understanding Mood and Context for Plato's Mimesis

PLATO AND POETRY

Before one studies Plato’s Mimesis, and does a comparison of it with Aristotle’s defense of poetry and Mimesis, it is advisable to understand the mood and the contextual implications of the period it was conceptualized in and most important, the method through which Plato addresses all his ideas in the dialogue.

Admirers of Plato are usually lovers of literary art, for Plato wrote dramatic dialogues rather than didactic volumes and did so with rare literary skill. You would expect such a philosopher to place a high value on literary art, but Plato actually attacked it, along with other forms of what he called mimesis, and argued that most of it should be banned from the ideal society that he described in the Republic. What objections did Plato have with mimesis? Do those objections apply to the sort of art we value today? Are they well-founded? With Plato entering the scene, for the first time poetry is the subject of a sustained philosophical critique, which raises fundamental and enduring questions about the nature of literature and its justification. Plato did not go out of his way to write treatises devoted specifically to poetry, yet his engagement with poetry was intense, as we can see from the explicit discussion on poetry throughout his dialogues. Certainly he writes about poetry like no other philosopher, before or since; for he is deeply imbued with poetry, and deeply attracted to it, (he admits to being a great admirer of works by Homer etc.) yet determined to resist its spell. Hence the paradox that such an ardent admirer of poetry banished it from his ideal state.

Plato’s notorious hostility to poetry strikes the modern reader as very odd: in the Republic he is concerned not merely with censoring poetry, but with removing it altogether and his target is the entire heritage of Greek literature. Though hymns to the gods and encomia to good men will be permitted in the ideal state, there will be no place for the epics of Homer, or the tragedies of Aeschylus, Sophocles and Euripides, long since canonized as high art.

Why is Plato so afraid of poetry that he has to abolish even its greatest masterworks?

One factor that we need to remember when considering this question is that poetry in Plato’s day was not simply a minority interest indulged in by the leisured few, but a central feature in the life of the community. Greek education was centered round poetry (together with its accompanying elements of music, song and dance), and it was through the medium of poetry that the values of society were transmitted. Poetry played a central role not only in the education of the young but also in the lives of adult citizens through their participation (as performers or as the audience) in the various public festivals in which drama, lyric and epic were performed.

The fervor of his attack can thus be as a sort of reaction against the moral authority and cultural prestige of poetry. For his project is none other than to replace poetry by philosophy as the central educational discourse in Athenian society.

Plato was the first thinker to formulate major questions about the function and role of art in society. The several dozen dialogues attributed to Plato engage almost every issue that interests philosophers. Although he did not set out to write systematic literary theory – unlike his student Aristotle, who produced a treatise on poetics – his consideration of philosophical issues in several of the dialogues leads him to reflect on poetry, and those reflections have set the terms of the questions which we still debate today.

What is poetry, and indeed art in general, and how does it operate?

What is and should be the function of imaginative literature in society?

Is it dangerous in that it encourages emotions and feelings which ought to be kept in check, or is it therapeutic in that it allows us to give vent to our emotions in a harmless way?

Should there be censorship?

Is literature (which now, of course, includes television and film) a form of escapism or does it deepen our insight into the nature of people and the world around us?

How can literature justify itself?

These questions might seem to us somewhat academic when confined to poetry, but if we ask them in relation to popular entertainment and the mass media, the closest modern analogue to poetry in classical Athens, the force of Plato’s critique is immediately apparent.

Like all the poets before him, Plato is acutely aware of the pleasure that poetry affords its listeners; but for him that is the source of poetry’s greatest danger. He was highly dubious about the doubtlessly emotive power of poetry. In the Republic, one of the central arguments against poetry is that it is psychologically damaging, for it appeals to an inferior element in the soul, and encourages us to indulge in emotions which ought to be kept firmly in check by the control of reason (606d). It draws us into an emotional identification with the characters it portrays in a way that threatens the health of one’s mind. And the worst of it is that poetry has the power to corrupt even the best of men in this way, since surrendering to our emotions is so intensely pleasurable (605c-d). Hence, the only defense against poetry is to banish it altogether.

What binds together Plato’s various arguments and theories regarding poetry is a distrust of mimesis (representation or imitation). It becomes apparent on reading his dialogues that his objections to mimesis in literature, especially poetry, take on not only a metaphysical and epistemological dimension, but also a strong ethical dimension. However, it is helpful when reading Plato to remember that his dialogues don’t always present a straightforward argument or arrive at a single unambiguous conclusion, but what is going to be helpful is always keeping in mind the context in which the dialogues were written.

(Mimesis will be continued in detail in my next post)

[References: Mr. Pinto’s class notes; The Norton Anthology of Theory and Criticism, Vincent B. Leitch; Classical Literary Criticism, Penguin Classics.]

Enhancing Quality of Answers

What does a question test?

• Comprehension of the question
• Logic of answering- sentences, paragraphs
• Spelling, punctuation
• Expression within the given word limit

Common Mistakes/Errors

Mistakes/Errors	Appropriate Usage
english	English
actually, basically	???????????
tough	Difficult, challenging
don’t, can’t	do not, cannot (Contractions)
called as	called
eg, for eg,	e.g.
Yours Faithfully	Yours faithfully
Your’s	Yours

• Difference between speaking and writing
• No religious symbols – Malpractice
• Draw margins and write question numbers outside the margin
• Make paragraphs for longer answers
• Do not write answers in points

• Single inverted commas for titles of poems or essays
• Underline titles of books, plays, films
• Names begin with capital letters
• Quote only if you know exactly
• Avoid use of green or red ink

…All the best

'To Sir With Love' presentation

Why film?

• Shift from print to visual culture
• Different from other texts

Trivia

• Sidney Poitier- First African- American actor to win Oscars (1963)
• Poitier in Blackboard Jungle (1955)
• Sequel -To Sir With Love II (1996)
• Based on the memoir of E R Braithwaite
• Broke box-office records in 1967 in the US

The Film
Title: To Sir with Love (1966/7)
Director: James Clavell
Producer: James Clavell
Script: James Clavell (from the novel by E.R. Braithwaite -1959)
Cinematography: Paul Beeson

The Cast
Sidney Poitier -Mark Thackeray
Christian Roberts -Denham
Judy Geeson -Miss Pamela Dare
Suzy Kendall -Gillian Blanchard
Ann Bell -Mrs. Dare
Faith Brook -Grace Evans
Chris Chittell -Potter
Geoffrey Bayldon -Weston
Patricia Routledge -Clinty

The Story

• Why does Mr Thackeray take to teaching?
• His early experiences of the school, of students, and staff
• “Ah, so you're the new lamb for the slaughter - or should I say, black sheep?” – Weston
• The classroom experience
• Mr Thackeray learns! Or students teach him (Thackeray loses temper)
• The realisation and the change (books find a better place!)
• The test of the new relationship
• Too fat to jump - Thackeray becomes PT teacher
• Seal’s mother dies
• Pamela’s issue
• The museum visit

• Survival training
• Thackeray gets a letter
• The farewell party
• The dance
• The gift
• ‘To sir with love’
• The next term’s class – mission incomplete

DVD Chapters
1. The start
2. North Quay Secondary School
3. The staff
4. Mid-day dance session
5. Hackman’s classes
6. The silent treatment
7. Their proper places
8. Seales
9. Studying South America
10. Pranks & filthy games
11. Responsible adults
12. Questions and answers
13. Thackeray’s story
14. The museum trip
15. Miss Dare’s move
16. Surviving training
17. Mark & Gillian
18. Too high for Fats
19. Passing the hat
20. Mrs Dare
21. “I got me a job”
22. Counselling Miss Dare
23. A boxing lesson
24. The Seales’ funeral
25. The celebration begins
26. Ladies’ choice
27. A little remembrance
28. Next term’s class

Themes

• Racial issues
• Inspirational teacher
• Education as a catalyst
• Teenage angst
• Mr Thackeray v students
• Mr Thackeray v other teachers
• Pedagogy
• Leadership

Thackeray’s Battle

• Against
• Narrow-minded administrators
• In-bred social ideas – race, difficult children
• Pessimistic colleagues
• Student crush
• Many more….

Relevance in Higher Education

l The film deals with secondary education

l Experiential learning

l Emphasis on emotional needs

l Understanding concepts rather than challenging them

l Does not includes the concerns of higher education

Some Questions

• How does Thackeray help his students to break out of the pattern of intolerance and roughness into which the society had placed them?

• What are the preconceived ideas that Mark Thackeray and his students have of each other? What makes them change these ideas?

• The concept of human beings able to alter their ways is a crucial element in the film. How far do you think is it possible in the case of rural as well as urban India marked by rigid social structures like caste, family tradition, parental pressure, and market driven society?

• What could be the social and environmental conditions that are responsible for the condition of the children in the film?

• In what ways can the film be adapted to the Indian situation?

• Critics argue that the film portrays a simplistic, commercially palatable rather than a realistic image of the challenges of teaching, leading the viewer to a distorted perception of the implications of the various discourses employed. Do you agree with it?

• What are the different notions of education (discourses) at work in the film?

• Is the notion of education prescribed in the film problematic, practical or idealistic?

• Thackeray’s character has been accused of making students conformists and not critical thinkers. Do you agree with this view? Did Thackeray have a choice?

• Attempt a character sketch of Mark Thackeray?

• Do we have such disadvantaged schools and children? What can we do to bring them to the mainstream?

Gurudakshina

• Switch off the lights
• Close the taps
• Throw the cups in dustbins
• Do not misplace books in the library

Grateful to…..

l YOU

l Rajan

l Mr Kennedy, Tana

l The Dept of Media Studies

l Deans and dept heads and teachers

l Akshay Rajmohan

YOU become a TEACHER -with a difference.

Click here for the script of the film

CIA 1, (Mid Sem Exam) I M.A. English

CIA 1 (MID-SEM EXAM), I M.A. ENGLISH
Submission: Research Paper
Last Date for Submission: 21st August, 2009
Time: 9 a.m. (if submitting on the above mentioned date)

Topics (Any one):
1. A critique on Eagleton’s ‘What is Literature’
2. A critique on Eagleton’s ‘Rise of English’
3. Differing views of Plato and Aristotle on “Mimesis”
If you have any suggestions about another topic (it has got to be from the syllabus itself), you must correspond the same to Mr. Pinto within the 10th of Aug (Monday) and get his approval.

FORMAT
Font Size: 14
Font Style: Times New Roman/ Book Antiqua (If any other, run it by Mr.Pinto first)
Line Space: 1.5 (One and half)
Front Page:
-----------------------------------------------------------

(Align Right)
Name
Register Number
Course: Literary Criticism
CIA 1
Submitted to Anil Pinto
(End align right)

(Align Center) TITLE

(After 2 line spaces) Begin your writing here…

----------------------------------------------------------
Further Instructions:
1. Length of the Submission: Minimum 4 pages. Maximum 5 pages.
2. Copy if you must but copy systematically. It will be accepted as long as you cite the source with complete details.
3. No footnotes. End notes are allowed for references. Use appropriate index numbers or symbols to mark these references. (superscript/ subscript them against the text within the body of the paper and detail them out in the end note)
4. For quotes: After the quote (Person’s Name: Name of essay/book/other source, Year of Publication, Page num and Line)
5. Eg. Leitch, Vincient B. The Norton Anthology of Theory and Criticism, New York/London: WW Norton, 2005, pp 49.
(or)
Give an index number and detail it in the end note.
6. Bibliography: As per the MLA Handbook format forwarded to everyone by Mr. Pinto.
(or)
Any logically constructed format that is comprehensible and consistent.

Suggestions on what the critique should cover:
- Find flaws within arguments

- Trace the arguments/ ideas from elsewhere
- Examine where the author is borrowing his framework from. See if the framework itself can be challenged
- Challenge assumptions and foundations
- Author’s argument can be acknowledged as valid but avoid eulogizing the author’s arguments. Critique should challenge rather than flatter.
- Personal opinions and value judgments are not going to be entertained so if you have any grievances to air about the author/essay/topic/ Mr. Pinto, go search for a complaint box on campus.

Any further queries can be directed to Mr. Pinto. He’s on campus/ at the library/ the department/ email/ blog/ the phone/or just sit in the main block quadrangle and meditate, he might appear. (The last one actually hasn’t been tested yet but we’re looking for volunteers.)

On Creative Communication

Creative Communication, a third sem paper got the class thinking as to what it had to offer to the students. Creative Communication can be interpreted in many ways as seen in the class discussion held on August 1. The class came up with all sorts of ideas- a course that would help them write effectively, improve on the vocabulary, make them confident to face public stage, initiate thinking and to read text(cinema, written, painting etc) critically. Introducing a new method of teaching Mr Anil Pinto unsettled the class, urging them to not merely accept what was taught throughout the years, but to question every concept and research on the answers.

The first day class mainly dealt on the idea of 'communication' and 'creativity'. The various texts used in class was with the aim of finding the sources of crativity. With regard to different poems, like The Daffodils of Wordsworth, The Thought-Fox by Ted Hughes, Leda and the Swan by W.B Yeats, a few sources of creativity was arrived upon. According to Wordsworth, 'contemplation of previous experience' was the source of creativity. Wordsworth pens down the peom, Daffodils years after his mind had captured the beautiful and breathcatching image of an expanse of daffodils. Little did he know that this scene of nature would inspire him to pen down a poem.
The Thought-Fox which was written in the end of 19th century, begins with the words, 'I imagine' introducing the theme, that it is a poem about writing poems. According to Ted Hughes, the 'unconscious' is the source of creativity. Sigmund Freud also talks about concsious and the unconscious.
Leda and the Swan written by Yeats gives a whole new idea to source of crativity. Through his poem he speaks of the union of human and God. Leda, a beautiful human child is raped by the Greek God Zeus and the result of this violent act is the birth of Helen who is considered to be an epitome of beauty. The question that is put across in his peom is. does violenec give rise to creativity. According to Yeats, 'violence' is the source of creativity.
Formany poets like John Milton, ''Muse and God is the source of creativity. Every poem written by these peots begin with few lines to the gods seeking their blessings.
The 20th century witnessed many changes with fall of religion and kingship. Science became prominent and representation of people was the happening thing.
Rene Descarte, the 16th century philosopher, dubbed 'father of modern philosophy' was the first to have propesed the concept of mind. He separated mind and the body. In his book ' Meditations' he gives his famous line- 'I think therefore I am'
Ferdinand de Saussure is the 19 century Swiss linguist. He said that language is a signifying system. He gave the concept of langue and parole. Langue is the structure which is pre programmed and important. Parole is the creative part.

A Response to Downreading of Articles 377 of IPC

One of the fascinating article by Laurence Liang on the Downreading of Articles 377 of IPC.

Lawrence Liang and Siddharth Narrain. "Magic in the 'city of words'"

nternational seminar on “Source Materials in Indian Archives and Libraries for the Study of Arab History”

Centre for West Asian Studies

JAMIA MILLIA ISLAMIA

New Delhi 110025

Organizing a International seminar on October 6-8,2009 on

“Source Materials in Indian Archives and Libraries for the Study of Arab History”

Concept Paper

When the Scholars of Arab History think of manuscripts in English/Arabic and other related language, they almost invariably turn to the great libraries in West Asia and Europe, forgetting the facts that Indian libraries have nearly one hundred thousand Arabic manuscripts. This number is in addition to what may be available as undocumented private collections. As regards to the archives, the National Archives of India, New Delhi and Maharastra State Archives, Bombay, are the two main important sources of the historical materials on modern West Asian history. Historically speaking, the earliest contact of East India Company with the Arabian Gulf in 1616 with a task to finding new markets for trade in Arabia. Within few years company established their factories at Shiraz and Isfahan in 1617 and Bandar Abbas in 1623. Soon the connections established with Turkish Arabia and factory was found in Basra under the administrative control of Bombay presidency. From the last eighteenth century onwards the factories were replaced by a complicated network of Residencies and Agencies whose primary functions were no longer economic but almost entirely political with the chief aim of protection of sea overland route to India and to check any interference from other European powers. Arabia/Gulf became important for Britain mainly to protect India, a jewel in the British Crown.

Indian Libraries have full of manuscript on Arab History. According to an estimate in 2003, India possesses nearly one hundred thousand manuscripts in Arabic script spread over a number of libraries in various parts of the country. This number is in addition to what may be available in the form of undocumented private collections. The Indian collections are renowned for the

importance of many individual items, from some of the finest calligraphic and illustrated manuscripts of the Quran to autograph and other high-quality copies of major legal, literary, scientific, and historical works. Manuscripts produced in India but taken away illegally to Europe is another category altogether.

The main objective of this conference is to find out the entire materials on Arab history spread all over the country’s Archives and Libraries on Arab History in all languages- English, Arabic, Persian, Urdu and other regional languages. It is hoped that conference will provide an opportunity to unravel the unexplored and hidden materials concerning Arab History. It is also hoped that the proceedings of the conference would be published which would act as reference book.

Following are the tentative themes of the conference:

1. Detailed Survey of the English, Arabic, Persian, Urdu and Turkish Manuscripts and documents of the National Archives of India and Moharastra State Archives- Bombay and other Archives of India on Arab History.

2. Countrywise survey (Saudi Arabia, Qatar, Oman, Bahrain, Kuwait, UAE, Yemen, Egypt, Palestine and Al-Quds Iraq etc)

3. Various Reports and Publications by the Foreign departments on Arab History.

4. Traveler’s accounts like G.F.Sadleir’s, Major-Gereral Sir Henry Rawlinson missions to Arabia and many others.

5. Wahabism in Arabia.

6. Indian writing on Wahabism ( In any languages –English, Arabic, Urdu, Persian, Turkish or any south Indian languages)

7. Various collection of Treaties on Arab Gulf History.

8. Haj Pilgrimages Arabia.

9. Survey of the books and Journals in English, Arabic, Persian and Urdu in the Indian Libraries on Arab History.

10. Survey of the Khuda Baksh Library, Salar Jang Museum and Library,, Reza Library and many others manuscripts in English, Arabic, Persian, Urdu and Turkish on Arab History.

11. Publication of the Dar al-Musannifin on the Arab History.

12. Manuscripts and publications of the National Library of Calcutta.

13. Miscellaneous account of the Arab History

14. All private collections on the Arab World

15. Arabic manuscripts in Indian Libraries, Private libraries, Khankhas, Mosques, Dargahs and other places

Contact: Dr. H.A. Nazmi,

Assistant Professor and Seminar Convener, Centre for West Asian Studies, JAMIA MILLIA

ISLAMIA, New Delhi 110025, Mobile: 0091-9810701350, Email: intseminar2009@gmail.com

and nazmi70@gmail.com

An editorial on Gangubai Hanagal in Vartha Bharathi

Following is the translation of the editorial on Gangubai Hanagal pblished in Vartha Bharathi, a Kannada daily. M. Rashmi has translated it to English. The paper clipping was sent by Samvartha Acharya.

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It was the time of communal riots in Hubli. Gangubai Hanagal, calling herself Bismilla Khan’s Sister had come to streets begging people to stop violence and bring peace. She is a great soul who persistently tried to conquer the pettiness around her through music. A great mother, whose heart tried to weave the broken minds in threads of music. The great mother has left this mortal world in search of her brother Bismilla Khan, orphaning the children who were to grow up under her nourishment.

The world of music did not give a cordial welcome to Gangubai Hanagal. Both life and music were never devoid of conflicts for her. She belonged to the community of fishermen. Her mother had lived her life with a Brahmin farmer in Ranibennur. The mastery her mother had on music made Gangubai to choose the same path. Her mother had mastery in Karnatak music but Gangubai took another path choosing Hindustani music. She had husky, gruff male voice but her music had that feminine grace and rhythm and this unique combination helped her to develop a style of her own.

Gangubai Hanagal spoke in many of her concerts with tearful eyes about the humiliation she suffered coming from a low caste and her effort to overcome it thorough her music. It was pre independent period, Gandhiji had come down to Belgaum to attend National Conference. Gangubai got the chance to sing before him. She sang in the concert but one thing gnawed her throughout her stay there, she was afraid of being segregated and made to sit separately from the upper caste people during lunch. Gangubai was relieved when her guru asked her to sit beside him. The caste discrimation that was meted out to her was defeated by her music. A family did not allow her into their home for her caste but the same family invited her again when she became a great musician. Gangubai could never forget such instances and always remembered them.

She erased caste and religious distinctions through her music. Bismilla Khan, Abdul Karim Khan, Bhimsen Joshi were all of one family for her and she belonged to it. She chose music as her religion and loved Hubli all her life. She once in one of the felicitation gatherings said, “Though I was born in Dharwad, I grew up in Hubli, I learnt music here and earned fame here. Neither Hubli leaves me nor do I leave Hubli”. Her Hubli is now in the hands of corrupt politicians and communal forces which are tearing it apart into pieces. This is an insult to her music.

The Chief Minister of Karnataka, Mr. Yediyurappa has promised to build a statue in her memory. It seems this has become a habitual weakness of the Chief Minister – building statues in memories of Sarvagna, Tiruvallar and now Gangubai Hanagal. If he goes on building statues like this, soon Karnataka will be full of statues and without human beings. If the Chief Minister really respects her music, he should strive to bring communal harmony in Hubli and in the whole of Karnataka. He should try to abolish untouchability that made her suffer humiliation throughout her life. Gangubai dreamt of harmonious relationship between Hindus and Muslims and that they should live together. The government should try to bring her dreams into reality. This can only be the perfect mourning in her name.

Konknni Workshop in Roman script for Youngsters

Thomas Stephens Konknni Kendr (TSKK), Alto Porvorim will conduct at its premises three days workshop from 27 to 29 August 2009 to youngsters of the age group of 15 to 30. The participants will be taught the rules of writing Konknni in Roman script. Classes will be held from 10.00 am to 4.30 pm. This workshop is ideal for those who are writing Konknni in Roman script or for budding writers who want to learn the correct method of writing Konknni. Knowledge of reading Konknni in Roman script is essential for the admission of this workshop. Admissions will be given on the basis of first come first served. Only 30 students will be admitted for this workshop and they will be guided by competent resource persons. Those who are interested should register their names at TSKK office Phone No. 2415857, 2415864.

THOMAS STEPHENS KONKNNI KENDR

B.B.Borkar Road

Alto Porvorim, Goa – 403 521

Phone: 0832- 2415857, 2415864

05.08.2009