Translating Kali's Feast is an interdisciplinary study of the Goddess Kali bringing together ethnography and literature within the theoretical framework of translation studies. The idea for the book grew out of the experience and fieldwork of the authors, who lived with Indo-Caribbean devotees of the Hindu Goddess in Guyana. Using a variety of discursive forms including oral history and testimony, field notes, songs, stories, poems, literary essays, photographic illustrations, and personal and theoretical reflections, it explores the cultural, aesthetic and spiritual aspects of the Goddess in a diasporic and cross-cultural context. With reference to critical and cultural theorists including Walter Benjamin and Julia Kristeva, the possibilities offered by Kali (and other manifestations of the Goddess) as the site of translation are discussed in the works of such writers as Wilson Harris, V.S. Naipaul and R.K. Narayan. The book articulates perspectives on the experience of living through displacement and change while probing the processes of translation involved in literature and ethnography and postulating links between ‘rite' and ‘write,' Hindu ‘leela' and creole ‘play.'
What does the story of
Robinson Crusoe have to do with understanding past and present women’s lives?
The Female Crusoe: Hybridity, Trade and the Eighteenth-Century Individual investigates the possibility that Daniel Defoe’s famous work was informed by qualities attributed to trade, luxury and credit and described as feminine in the period. In this volume,
Robinson Crusoe and the female castaway narratives published in its wake emerge as texts of social criticism that draw on neglected values of race and gender to challenge the dominant values of society. Such narratives worked to establish status and authority for marginalised characters and subjects who were as different, and as similar, as Defoe’s gentleman-tradesman and Wollstonecraft’s independent woman.
The Female Crusoe goes on to address the twentieth-century engagement with the castaway tale, showing how three contemporary authors, in their complex and gendered negotiations of power and identity, echo, even while they challenge, the concerns of their eighteenth-century predecessors. This work will be of interest to students interested in literary engagements with individualism and women’s rights in the eighteenth and twentieth centuries.
How are well-known female characters from the Bible represented in late 20th-century novels? In
Biblical Women in Contemporary Novels in English, Ingrid Bertrand presents a detailed analysis of biblical rewritings by Roberts, Atwood, Tennant, Diamant and Diski focusing on six different women (Eve, Noah’s wife, Sarah, Bilhah, Dinah and Mary Magdalene). She shows how these heroines give themselves a voice that rests not only on words but also on silences. Exploring the many forms that silence can take, she presents an innovative typology that sheds new light on this profoundly meaningful phenomenon.
interviewed asserted that even though they worshipped various goddesses called amman (Mother), these were only manifestations of one Supreme Being. 79 Therefore, in the midst of all the ambiguity of the manifestations of the Dalit goddesses, I believe we can say that there is a deeper and broader and
impliquer un plusieurs, jamais l’unique. L’Un restant, depuis des siècles, confié à Dieu ” (“Amour de soi” 71). 1 A Universe of Mothers and Goddesses “I had four mothers, each of them scolding, teaching, and cherishing something different about me” ( RT 2). With these words, Diamant’s protagonist
In the previous chapter, I noted that interpreting Paraiyar religious traditions as liberative, while certainly possible, has its difficulties. As pointed out in the last section, iconic representations of the goddesses which signify the protection of the vulnerable Dalits and myths that portray
. They play their roles of happy goddesses amazingly naturally. Obviously, the mother has more experience. 26 Entering into the roles of “a god and goddesses”, however conventional, evokes mythological and archetypal associations. The background of the developing love affair is (except for the plots
” 113 While the first pair of case studies has emphasised how in The Red Tent and The Wild Girl , the heroine’s voice is indissociable from the rehabilitation of the silenced Great Mother, the archetype of the divine feminine, in this chapter and the next, I will concentrate on Michèle Roberts’s The
. While a large part of the population is the follower of the Hindu religion, the local deities described above are spread out widely over the landscape. As far as the shapes of these icons are concerned, they share none of the attributes of the Hindu gods and goddesses and yet either specific families
, detailed in the two main points of the chapter. In the first, entitled “A Universe of Mothers and Goddesses: Femininity Plural,” Dinah was shown to challenge her silencing in the Scriptures by launching into the story of her direct female ancestors, a tale of multiple mothers mirroring a powerful, plural