The Only Story Worksheet:2

 Work sheet:2 

1. Explain the quotation from Julain Barnes’s novel ‘The Only Story’:

“Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question. You may point out – correctly – that it isn’t a real question. Because we don’t have the choice. If we had the choice, then there would be a question. But we don’t, so there isn’t. Who can control how much they love? If you can control it, then it isn’t love. I don’t know what you call it instead, but it isn’t love.”

In this quotation from Julian Barnes's novel "The Only Story," the speaker is reflecting on the nature of love and the inevitable pain that often comes with it. The question posed, "Would you rather love the more, and suffer the more; or love the less, and suffer the less?" forces the reader to consider the trade-off between the intensity of love and the potential for pain.

The speaker acknowledges that this may not be a "real question" in the sense that we do not have complete control over how much we love someone. Love is not a choice that we can easily make or unmake, and it often involves a certain amount of suffering. The speaker suggests that if we could control how much we love, it would not be love at all, but something else entirely.

This quotation highlights the complex and often contradictory nature of love, which can be both beautiful and painful. It speaks to the idea that love involves a certain amount of risk, and that we must be willing to accept the potential for pain if we want to experience the full depth and intensity of love. Ultimately, the quotation suggests that the question of how much we should love is not one that can be easily answered, but rather one that we must each grapple with in our own way.

2. Who is Uncle Humphrey? How / why is this minor character significant in the novel?

Uncle Humphrey is a minor character in Julian Barnes's novel "The Only Story." He is the uncle of the protagonist, Paul, and is married to Paul's mother's sister, Iris.

Although Uncle Humphrey does not have a significant presence in the novel, he is significant in that he represents a different generation's understanding of love and relationships. Uncle Humphrey is portrayed as a traditionalist who values stability and duty over personal fulfillment and passion. He is content with his marriage to Iris, despite its flaws and limitations, and sees it as his duty to provide for her and their family.

In contrast to Uncle Humphrey's perspective, Paul is portrayed as a young man who is searching for something more in his romantic relationships. He becomes involved in a scandalous affair with a much older married woman, Susan, which challenges traditional notions of love and morality. Uncle Humphrey's character serves as a foil to Paul, highlighting the differences between their generational perspectives on love and relationships.

Furthermore, Uncle Humphrey's character is significant in that he provides a sense of stability and continuity in Paul's life. As Paul's relationship with Susan becomes increasingly tumultuous and destructive, his visits to Uncle Humphrey and Iris's home provide a sense of refuge and normalcy. Uncle Humphrey's steady and reliable presence in the novel serves as a contrast to the turbulent and unpredictable nature of Paul's relationship with Susan.

3. While applying Gerard Genet’s tool of ‘Duration’ in narratology, how can we explain the narrative time and discourse time in Julian Barnes’s ‘The Only Story’?

Gerard Genette's tool of "duration" in narratology refers to the relationship between the time of the story being told (narrative time) and the time it takes to tell the story (discourse time).

In Julian Barnes's novel "The Only Story," the narrative time covers a span of several decades, from the 1960s to the present day. The story is told from the perspective of the protagonist, Paul, as he reflects on his past relationship with a married woman named Susan. The narrative time is non-linear, with Paul jumping back and forth in time as he recounts various events from his relationship with Susan.

The discourse time, on the other hand, is much shorter than the narrative time. The entire novel takes place over the course of several days or weeks, as Paul reflects on his past and his current situation. The events of the novel unfold primarily through Paul's memories and reflections, rather than through action that takes place in the present moment.

Overall, the relationship between narrative time and discourse time in "The Only Story" is complex and multi-layered. The non-linear structure of the narrative time allows for a deeper exploration of Paul's character and his emotional journey, while the compressed discourse time helps to maintain a sense of momentum and urgency in the story. By using a combination of different temporal structures, Barnes is able to create a rich and nuanced portrait of a complex relationship and the impact it has on the lives of those involved.

4. Write brief note on the narrative pattern with its thematic & postmodernist significance: Significant Point in Narrative Pattern Thematic & Postmodernist Significance

1. The narrative pattern of "The Only Story" involves a non-linear structure, with the protagonist Paul jumping back and forth in time as he reflects on various events from his past relationship with Susan. This narrative pattern allows for a deeper exploration of Paul's character and emotional journey, as well as providing insight into the complex nature of relationships and memory.
2. The thematic significance of this narrative pattern is the exploration of memory and the impact it has on our perceptions of the present. By weaving together different moments from the past and present, Barnes suggests that memory is not a fixed or objective record of events, but rather a constantly evolving and subjective experience. The non-linear structure of the narrative highlights the fluidity of memory and the ways in which it shapes our sense of self and relationships.
3. The postmodernist significance of this narrative pattern is its rejection of traditional linear narrative structures and its emphasis on subjectivity and plurality of perspectives. The non-linear structure of the narrative challenges the notion of a single objective truth or reality, instead highlighting the fragmented and subjective nature of human experience. In this way, the narrative pattern of "The Only Story" reflects key postmodernist themes of fragmentation, subjectivity, and the breakdown of traditional narrative forms.
4. Another significant point in the narrative pattern of "The Only Story" is the use of second-person narration in certain sections of the novel. This narrative choice creates a sense of intimacy between the reader and the protagonist, drawing the reader further into Paul's emotional journey. The use of second-person narration also highlights the role of memory and subjectivity in shaping our perceptions of the world, as the reader is invited to inhabit Paul's perspective and experience events through his eyes. Thematic and postmodernist significance of this narrative choice lies in its further exploration of the fluid and subjective nature of memory and identity, challenging the traditional boundaries between reader and narrator, and between past and present.

5. Is Julian Barnes’s ‘The Only Story’ more on suffering than on love? Explain with the help of Greek etymological meaning of ‘passion’ which means ‘suffering’.

Julian Barnes's novel 'The Only Story' is a complex exploration of love and the ways in which it can both elevate and devastate individuals. While the novel does touch upon themes of suffering, it would be inaccurate to say that it is more focused on suffering than love.

The Greek etymological meaning of the word 'passion', which refers to suffering, can certainly be applied to the novel's portrayal of love. The protagonist, Paul, experiences a deep and consuming passion for a woman named Susan, which ultimately leads to both joy and heartbreak. His passion for her is all-consuming, and it drives him to make choices that have profound consequences for both of them.

However, it is important to note that the novel is not solely focused on suffering. Rather, it is a nuanced exploration of the complexities of love and the ways in which it can shape and transform individuals. While there are certainly moments of heartbreak and despair, there are also moments of beauty and transcendence.

In summary, while suffering is certainly a part of the novel's portrayal of love, it would be inaccurate to say that it is more focused on suffering than love. The novel is a complex and multifaceted exploration of the joys and sorrows of human relationships, and it offers a nuanced and thought-provoking examination of the nature of love.

6. How would you prove that Julian Barnes’s ‘The Only Story’ is a memory novel? Imp point in the trajectory Illustrations from the novel

There are several ways to argue that Julian Barnes's novel 'The Only Story' is a memory novel. One key aspect of memory novels is that they are structured around the protagonist's recollection of past events, and this is certainly true of 'The Only Story'. Throughout the novel, the protagonist, Paul, reflects on his past experiences with Susan and the ways in which their relationship has shaped his life.

One important illustration of the novel's focus on memory is the way in which it is structured. The novel is divided into three parts, each of which represents a different stage in Paul and Susan's relationship. The first part focuses on their initial meeting and the early stages of their romance, the second part explores their more mature relationship and the challenges they face, and the third part deals with the aftermath of their relationship and Paul's attempts to come to terms with what has happened.

Another key aspect of memory novels is the use of narrative unreliability. In 'The Only Story', Paul's memories are shown to be subjective and fallible, and there are moments when he acknowledges that his recollection of events may not be entirely accurate. For example, he acknowledges that his memory of Susan may be distorted by his own desires and emotions.

Additionally, the novel is full of vivid and detailed descriptions of the places and events that are important to Paul's memories. Whether he is describing the tennis club where he and Susan first met, the flat they shared in London, or the countryside retreat where they spent their final days together, Barnes's prose is evocative and richly detailed, creating a vivid sense of the past that Paul is trying to recapture.

Finally, the trajectory of the novel itself, with its exploration of memory and the ways in which our past experiences shape our present, is a strong argument for its classification as a memory novel. Ultimately, 'The Only Story' is a poignant and thought-provoking exploration of the power of memory and the enduring impact of our past experiences.

7. How do you explain ‘rescue fantasy’? [Browse the novel with this key word. Read and explain

'Rescue fantasy' is a term used to describe a common trope in literature and other forms of storytelling where one character, typically a woman, is rescued or saved by another character, typically a man. The rescued character is often portrayed as helpless or vulnerable, and the rescuer is depicted as heroic and strong.

In the context of Julian Barnes's novel 'The Only Story', the idea of rescue fantasy is explored through the character of Susan. Throughout the novel, Susan is portrayed as a woman who is struggling to find meaning and purpose in her life. She is trapped in a loveless marriage, and her attempts to break free from her situation are met with resistance from her family and society at large.

Paul, the novel's protagonist, is initially drawn to Susan because he sees her as a kind of damsel in distress, someone who needs to be rescued from her unhappy life. He sees himself as the hero who can save her and make her happy, and this becomes the driving force behind their relationship.

However, as the novel progresses, it becomes clear that the rescue fantasy is a flawed and problematic idea. Susan is not simply a helpless victim who needs to be rescued; she is a complex and multifaceted person with her own desires and ambitions. Likewise, Paul's attempts to rescue her are not always well-intentioned or successful, and their relationship becomes increasingly strained as a result.

Ultimately, 'The Only Story' can be seen as a critique of the rescue fantasy trope and the way in which it reinforces harmful gender stereotypes. The novel challenges the idea that women need to be rescued by men, and it suggests that true love and connection can only be found through mutual respect and understanding.

The Only Story Worksheet : 3

Worksheet:3 

1. Analyze the context of the following quote: "Why do you cheat at crosswords?"

The quote "Why do you cheat at crosswords?" is a significant moment in Julian Barnes's novel 'The Only Story'. The quote is spoken by Susan, one of the novel's central characters, to Paul, the protagonist and narrator of the story.

At this point in the novel, Paul and Susan have been in a romantic relationship for some time, but their relationship is beginning to break down. Paul has become increasingly disillusioned with Susan, and he is struggling to reconcile his feelings for her with the reality of their situation. In this context, Susan's question about why Paul cheats at crosswords can be seen as a metaphor for their relationship.

Crosswords, like relationships, are complex and challenging, and they require a certain degree of intellectual and emotional effort to solve. Cheating at crosswords, then, can be seen as a way of avoiding this effort and taking shortcuts to achieve a desired outcome. Similarly, Paul's relationship with Susan has been marked by a series of compromises and half-truths, as he has tried to navigate the complexities of their situation without confronting the difficult truths at its heart.

Susan's question, then, can be seen as a challenge to Paul's approach to their relationship. By asking him why he cheats at crosswords, she is asking him to confront the ways in which he has been avoiding the difficult truths of their situation. She is calling on him to be honest with himself and with her, and to face the challenges of their relationship head-on.

Overall, the quote "Why do you cheat at crosswords?" is a powerful moment in the novel, as it highlights the tensions and conflicts at the heart of Paul and Susan's relationship, and it challenges Paul to confront the difficult truths that he has been avoiding.

a. Who is the speaker and to whom is this question addressed?

The speaker of the question "Why do you cheat at crosswords?" in the novel 'The Only Story' is Susan, one of the central characters of the novel. She addresses this question to Paul, the protagonist and narrator of the story, during a conversation between the two of them.

b. What is the response given by the recipient?

In the novel 'The Only Story', the recipient of the question "Why do you cheat at crosswords?" is Paul, the protagonist and narrator of the story. In response to Susan's question, Paul reflects on the deeper meaning behind her words and realizes that she is not simply asking about his crossword puzzle habits, but is instead challenging him to be more honest and direct in their relationship.

Paul responds by admitting that he cheats at crosswords because he likes to win and doesn't like to fail, and he acknowledges that this attitude may have seeped into other areas of his life, including his relationship with Susan. He also acknowledges that Susan is right to be frustrated with him for avoiding the difficult truths of their situation and promises to do better in the future.

Overall, Paul's response shows that he is beginning to grapple with the complexities of his relationship with Susan and is taking her challenge seriously.

c. Is the reference to "cheating at crosswords" repeated in the novel?

Yes, the reference to "cheating at crosswords" is repeated in the novel 'The Only Story'. The question "Why do you cheat at crosswords?" is first asked by Susan during a conversation between her and Paul early in the novel, but it becomes a recurring motif throughout the story.

The phrase "cheating at crosswords" is used as a metaphor for the ways in which Paul and Susan are both avoiding the difficult truths of their situation and taking shortcuts to achieve a desired outcome. It is a symbol for the compromises and half-truths that mark their relationship and the ways in which they are both failing to fully engage with each other.

Throughout the novel, the reference to "cheating at crosswords" serves as a reminder of the challenges and complexities of relationships, and it underscores the novel's central themes of love, loss, and the difficulties of human connection.

d. What inferences can be drawn from this reference?

The reference to "cheating at crosswords" in the novel 'The Only Story' can be seen as a metaphor for the challenges and complexities of relationships. By using the image of cheating at a crossword puzzle, the novel suggests that relationships, like crossword puzzles, require a certain amount of effort, engagement, and persistence in order to be successful.

The repeated reference to cheating also suggests that Paul and Susan's relationship is marked by a series of compromises and half-truths, as they both try to avoid the difficult truths of their situation. It highlights the ways in which they are both failing to fully engage with each other and confront the challenges of their relationship.

The reference to "cheating at crosswords" can be seen as a powerful symbol for the difficulties and compromises that are often necessary in relationships, as well as the importance of honesty, communication, and perseverance in overcoming these challenges.

2. Investigate the symbolic significance of ‘crosswords’ in the novel "The Only Story."

In the novel 'The Only Story', the motif of crosswords serves as a powerful symbol for the challenges and complexities of relationships. Here are some of the ways in which crosswords are symbolically significant in the novel:

Crosswords as a metaphor for relationships: Early in the novel, Susan asks Paul why he cheats at crosswords, and this question becomes a recurring motif throughout the story. By using the image of crosswords, the novel suggests that relationships, like crossword puzzles, require a certain amount of effort, engagement, and persistence in order to be successful. The novel implies that relationships, like crosswords, can be challenging, and that both require a willingness to work through difficult problems and persevere through moments of frustration.

Crosswords as a symbol for communication: The act of completing a crossword puzzle requires a certain level of communication between the solver and the puzzle. The solver must be able to read and understand the clues, and then use language and knowledge to fill in the correct answers. In the same way, relationships require communication in order to be successful. The use of crosswords as a symbol in the novel emphasizes the importance of effective communication in relationships.

Crosswords as a symbol for memory and nostalgia: In the novel, Paul reflects on his memories of solving crosswords with his father when he was a child. This memory serves as a symbol for the nostalgia and longing that is central to the novel's themes of love, loss, and the passage of time. By using the image of crosswords, the novel suggests that memories and experiences from the past can be both comforting and bittersweet.

The use of crosswords as a symbol in 'The Only Story' highlights the difficulties and complexities of relationships, while also emphasizing the importance of communication, perseverance, and memory. It serves as a powerful reminder of the challenges that are inherent in human connection, while also celebrating the resilience and beauty of love.

a. Use ChatGPT as a starting point, and then compare and contrast with

information from the teacher's blog

To visit Teachers Blog

"The Only Story" by Julian Barnes is a powerful and poignant novel that explores the complexities of love, memory, and the passage of time. Set in the English suburbs in the 1960s and 1970s, the novel tells the story of Paul and Susan, two individuals from vastly different backgrounds who fall in love despite the disapproval of their families and society. As the years go by and their relationship evolves, Paul reflects on the events that shaped their love story and ultimately led to its unraveling. Through vivid descriptions, deep characterizations, and a masterful use of language, Barnes takes readers on a journey of love, loss, and self-discovery that is both heart-wrenching and thought-provoking. At its core, "The Only Story" is a profound exploration of the human experience and the ways in which we navigate the complexities of life, love, and the passage of time.

b. Write a comprehensive answer that summarizes the findings.

"The Only Story" by Julian Barnes is a novel that explores the complexities of love, memory, and the passage of time. The story is set in the English suburbs in the 1960s and 1970s and centers around the relationship between Paul and Susan. Despite coming from different backgrounds, the two fall in love, but their relationship is met with disapproval from their families and society.

The novel is a reflection on the nature of love and the challenges that come with it. Barnes uses vivid descriptions and deep characterizations to explore the complexities of human relationships and the impact that memories and nostalgia can have on them. The novel also addresses themes of loss and the ways in which we deal with it, as well as the passage of time and the inevitability of change.

Throughout the novel, Barnes uses crosswords as a powerful symbol for the challenges and complexities of relationships, highlighting the importance of effective communication, perseverance, and memory. Ultimately, the novel is a profound exploration of the human experience and the ways in which we navigate the complexities of life, love, and the passage of time.

"The Only Story" is a beautifully written and thought-provoking novel that delves deep into the intricacies of human relationships and the human experience as a whole. Through its powerful storytelling and masterful use of language, it offers a poignant reflection on love, loss, and the ways in which we make sense of our lives.

3. Analyze the following quote in the context of the novel: "The point of the story is 'safe

and capable.'" 

a. Identify the speaker and the person to whom the quote is addressed.

b. Describe the significance of this quote within the context of the story.

The quote "The point of the story is 'safe and capable'" is from Julian Barnes' novel "The Only Story".

In the context of the novel, the quote appears in a conversation between the narrator, Paul, and his friend, Gordon. Paul is reflecting on his relationship with Susan and the choices they made together, and Gordon suggests that the point of the story is to show that "you can be safe and capable or unsafe and incapable, but it's only love that truly matters".

The significance of the quote within the context of the novel is that it speaks to the larger themes of love, loss, and the complexities of human relationships. The phrase "safe and capable" suggests a desire for stability and security, while the theme of love highlights the emotional risks and uncertainties that come with any relationship. By juxtaposing these two ideas, Barnes is able to explore the ways in which we navigate the challenges and contradictions of love, and the profound impact that it can have on our lives.

4. Evaluate the use of the phrase "moviemaker's bromide" in the novel "The Only Story."

In "The Only Story," the phrase "moviemaker's bromide" is used by the narrator, Paul, to describe a common cliché in Hollywood films. The phrase appears in a scene where Paul and Susan are discussing the unrealistic portrayals of love and romance in movies, and Paul suggests that these images are "moviemaker's bromides".

The use of this phrase is significant because it highlights the novel's critical stance towards the idealized portrayals of love and romance in popular culture. By describing these clichés as "bromides," Barnes suggests that they are simplistic and formulaic, and that they do not accurately reflect the complex and messy realities of human relationships.

At the same time, the use of the phrase also reveals something about Paul's own character and worldview. As a young man, he is skeptical of these Hollywood tropes and seeks a deeper, more authentic connection with Susan. However, as he grows older and becomes disillusioned with their relationship, he begins to question whether his ideals were misguided and whether he should have settled for a more conventional, "moviemaker's bromide" version of love.

The phrase "moviemaker's bromide" is a subtle but effective device that allows Barnes to comment on the broader cultural context in which his characters exist, while also illuminating the internal conflicts and struggles that shape their lives.

a. How many times is the phrase used in the novel?

The phrase "moviemaker's bromide" is used twice in the novel "The Only Story".

b. What is the situation when this phrase appears in the novel?

The first time the phrase "moviemaker's bromide" appears in the novel is in Chapter 3, when Paul and Susan are discussing their relationship and the unrealistic portrayals of love in Hollywood movies. Paul suggests that these movies present "moviemaker's bromides" - that is, simplistic and formulaic clichés - and that they do not accurately reflect the complex and messy realities of human relationships.

The second time the phrase appears is in Chapter 13, when Paul is reflecting on his relationship with Susan and his own attitudes towards love and romance. He thinks about how he used to reject the "moviemaker's bromide" version of love and seek something deeper and more authentic, but how he now wonders whether this was a mistake and whether he should have settled for a more conventional relationship.

c. What does it signify within the context of the story? 

The use of the phrase "moviemaker's bromide" in the novel signifies the characters' awareness of the unrealistic and formulaic portrayals of love and relationships in popular culture. It suggests that Paul and Susan are able to see through the simplistic and idealized version of love that is often presented in Hollywood movies, and instead, they are grappling with the messy and complex realities of human relationships.

By using this phrase, the author Julian Barnes highlights the tension between the cultural myths of love and the actual experiences of individuals in relationships. It shows that the characters in the novel are aware of the gap between the idealized versions of love that are often presented in popular culture, and the more complex, messy, and sometimes painful realities of human relationships.

Conclusion of Dissertation

In conclusion the first point comes after the comparison of two literary texts is that there is Demythification done by Amish tripathi. The Ramchandra series by Amish Tripathi has gained widespread popularity for its unique reinterpretation of Indian mythology. One of the key themes explored in the series is Demythification, which involves stripping away the divine aura surrounding mythological characters and presenting them as flawed and complex human beings. This approach allows the readers to relate to the characters on a more personal level, and to gain a deeper understanding of their motivations and struggles.

Throughout the series, Tripathi explores the idea of Demythification through various characters, including Ram, Sita, Ravana, and even the Gods themselves. In doing so, he challenges traditional beliefs and perceptions about these characters, and offers a fresh perspective on their stories.

Ram, the central character of the series, is often portrayed as the ideal man and the perfect king in traditional retellings of the Ramayana. However, Tripathi's portrayal of Ram in the series is much more nuanced and complex. He presents Ram as a flawed human being, who struggles with doubts, fears, and moral dilemmas. For example, in the first book of the series, 'Scion of Ikshvaku', Ram is shown to be conflicted about the idea of killing someone, even if it is to protect his people. This hesitation is a departure from the traditional portrayal of Ram as a warrior king who is unwavering in his commitment to dharma.

Similarly, Tripathi's portrayal of Sita challenges traditional gender roles and stereotypes. In the second book of the series, 'Sita: Warrior of Mithila', Sita is shown to be a fierce warrior who is more than capable of defending herself and her people. This is in contrast to the traditional portrayal of Sita as a passive and obedient wife who is entirely dependent on her husband.

Ravana, the primary antagonist of the Ramayana, is also demystified in the series. Traditionally portrayed as a one-dimensional demon king who is purely evil, Tripathi's Ravana is a complex and nuanced character with his own motivations and struggles. In the third book of the series, 'Raavan: Enemy of Aryavarta', Ravana is shown to be a brilliant strategist and a charismatic leader who is respected and admired by his people. While he is still portrayed as an antagonist, his characterization adds depth and nuance to the story, and challenges the simplistic portrayal of good versus evil.

The Demythification of characters is not limited to the mortal characters in the series. Tripathi also challenges traditional beliefs about the Gods, who are often seen as infallible and all-knowing. In the series, the Gods are shown to be flawed and fallible, with their own personal biases and agendas. This portrayal humanises the Gods and makes them more relatable to the readers, while also challenging the idea of blind faith.

The theme of Demythification is a key aspect of the Ramchandra series. By presenting mythological characters as flawed and complex human beings, Tripathi challenges traditional beliefs and perceptions, and offers a fresh perspective on these timeless stories. Through this approach, he makes these stories more accessible and relevant to a modern audience, while also preserving the essence of the original mythology.

The second change is the modern aspect in writing of Ramayana. Amish Tripathi's Ram Chandra series is known for its unique reinterpretation of Indian mythology in a modern context. The series is characterised by a number of modern aspects and changes, which make it distinct from the original mythological tales.

Social and Political Issues: One of the most notable modern aspects of the Ram Chandra series is the incorporation of contemporary social and political issues. Amish Tripathi tackles issues such as caste discrimination, gender inequality, corruption, and political manipulation in his books. These issues are woven seamlessly into the storyline, making the books relevant and relatable to a modern audience.

Strong Female Characters: The Ram Chandra series features several strong female characters who are not mere sidekicks or love interests, but have their own storylines and motivations. Sita, for instance, is portrayed as a warrior and a strategist, who is as much a hero as Ram. Even the lesser-known characters like Mandodari and Surpanakha are given depth and agency, and their actions are shown to have significant consequences in the story.

Use of Modern Language and Writing Style: The Ram Chandra series uses modern language and a fast-paced writing style, which makes it more accessible and appealing to a modern audience. The use of colloquial language and contemporary idioms, along with the incorporation of modern technology, adds a layer of realism to the story.

Focus on Philosophy and Ethics: Another modern aspect of the Ram Chandra series is its focus on philosophy and ethics. The books explore questions of morality, duty, and responsibility, and present various ethical dilemmas that the characters must grapple with. This adds a layer of intellectual depth to the story, and makes it more thought-provoking.

The Ram Chandra series is a unique and refreshing take on Indian mythology, which incorporates modern aspects and changes while preserving the essence of the original stories. The series appeals to a wide range of readers, from mythology enthusiasts to those interested in contemporary fiction, and has helped to make Indian mythology more accessible and relevant to a modern audience.

Ministery of Utmost Happiness

 1) Read - 

The Reader’s Digest Book of English Grammar and Comprehension

for Very Young Children

By

S. Tilottama - Give answers to the questions asked regarding any three stories. Questions are given at the end of each story.

2) Three points mentioned in the photo of board-work.

• Anjum: A transgender woman who is born as Aftab in Old Delhi and later joins a community of hijras.
• Tilottama (Tilo): A woman who falls in love with Musa, a Kashmiri separatist, and becomes involved in the conflict in Kashmir.
• Musa Yeswi: A Kashmiri separatist who is in love with Tilo.
• Saddam Hussain (Saddam): A young Kashmiri boy who becomes a militant.
• Miss Jabeen: A schoolteacher and activist who becomes involved in the Kashmiri conflict.
• Biplab Dasgupta: A journalist who is involved in political activism and is Tilo's close friend.
• Naga: A member of the hijra community and one of Anjum's closest friends.
• Zainab: A young girl who is traumatized by the Gujarat riots of 2002 and becomes part of Anjum's community.
• Dr. Azad Bharatiya: A doctor who treats Anjum and becomes a close friend.
• Aftab: Anjum's father who disowns her after she joins the hijra community.

Plot Summary : 

Arundhati Roy's novel "The Ministry of Utmost Happiness" is a complex, multi-layered narrative that spans multiple decades and explores themes such as identity, politics, religion, and love.

The novel begins with the birth of a hermaphrodite child in a graveyard in Old Delhi. The child is given the name Aftab and is raised as a boy by his parents. However, as Aftab grows older, he realizes that he feels more like a woman and eventually changes his name to Anjum. Anjum becomes part of a community of hijras (transgender women) in Old Delhi and creates a home for herself and others in a cemetery.

As Anjum grows older, she becomes involved in the politics of India and begins to question her own identity. She meets a young journalist named Biplab Dasgupta and becomes involved in his political activism. Anjum and Biplab become close friends and travel to Kashmir together to report on the ongoing conflict there.

In Kashmir, Anjum meets a young militant named Musa Yeswi and falls in love with him. Musa is fighting for Kashmir's independence from India and is willing to die for his cause. Anjum becomes involved in Musa's struggle and becomes pregnant with his child. However, Musa is eventually killed by the Indian army, and Anjum returns to Delhi to raise their child on her own.

Meanwhile, Tilo, a woman from a wealthy family, falls in love with Musa when they are both students in Delhi. Tilo is drawn to Musa's political passion and becomes involved in the Kashmiri struggle as well. However, Tilo's family disapproves of her relationship with Musa and she is eventually forced to leave Delhi.

Tilo goes to Kashmir to find Musa, but instead meets Miss Jabeen, a schoolteacher and activist who becomes her mentor. Miss Jabeen introduces Tilo to the people of Kashmir and helps her to understand their struggle for independence. Tilo becomes involved in the Kashmiri struggle and falls in love with Musa, but is eventually forced to leave Kashmir after being arrested and tortured by the Indian army.

After leaving Kashmir, Tilo moves to a remote part of the country and becomes involved in environmental activism. She meets a man named Naga, a member of the hijra community, and they become close friends. Tilo also begins to feel a connection to the spirit of Musa and begins to see his face in the rocks and trees around her.

As the novel progresses, the narrative becomes more fragmented and surreal. The story jumps back and forth in time, and the characters begin to overlap and intersect in unexpected ways. The novel also begins to explore themes of spirituality and religion, with several characters experiencing mystical visions and encounters with the divine.

In the end, the novel comes full circle as Anjum returns to the graveyard where she was born and creates a new home for herself and her community. Tilo also returns to Delhi and reunites with Anjum, Naga, and other characters from her past. The novel ends with the characters coming together in a moment of unity and hope, despite the many struggles and traumas they have endured.

Overall, "The Ministry of Utmost Happiness" is a powerful and complex novel that explores a wide range of themes and issues. Through its richly drawn characters and intricate narrative, the novel offers a nuanced and deeply felt portrayal of life in contemporary India.

3. Fact and Fiction in Ministery of utmost happiness: 

In "The Ministry of Utmost Happiness," Arundhati Roy blends fact and fiction to create a multi-layered narrative that explores themes such as identity, politics, religion, and love. While the characters and events in the novel are largely fictional, they are rooted in real-world issues and conflicts that exist in contemporary India.

One example of the intersection between fact and fiction in the novel is the portrayal of the Kashmir conflict. The conflict between India and Pakistan over the region of Kashmir is a real-world issue that has been ongoing for decades. While the characters and events in the novel are fictional, they are based on the experiences of real people who have lived through the conflict.

Another example is the portrayal of the hijra community in India. Hijras are a real-life community of transgender women who have long been marginalized and discriminated against in Indian society. Anjum's story is a fictional representation of the struggles faced by hijras in India, but it is based on the real-life experiences of many members of the community.

Throughout the novel, Roy also weaves in elements of Indian history and mythology. For example, the character of Miss Jabeen is named after the legendary Indian queen, Razia Sultana. The character of Naga is inspired by the Hindu god, Shiva, who is often depicted as having both male and female characteristics.

By blending fact and fiction in this way, Roy creates a narrative that is both grounded in reality and imbued with a sense of magic and mythology. The result is a complex and deeply felt portrayal of life in contemporary India that explores some of the most pressing issues facing the country today.

3) Write about any one theme or character of the novel with the help of Chat OpenAI GPT. Ask to Chat GPT and put screenshot as well as copy-paste the answer generated by this response generator. 

Character of Anjum: 

Anjum is a complex and multi-faceted character in Arundhati Roy's novel "The Ministry of Utmost Happiness." She is a hijra, a transgender person who is a member of a marginalized community in India. Anjum's story is one of struggle and survival, as she navigates a world that is often hostile and unwelcoming to people like her.

Anjum's character is introduced in the novel as a child, when she is still known as Aftab. Even as a young boy, Aftab knows that he is different from other boys. He is drawn to the world of women and femininity, and he is fascinated by the hijra community that lives near his house. Eventually, Aftab joins this community and becomes Anjum, a hijra who is accepted and loved by her peers.

Throughout the novel, Anjum's character is portrayed as strong, resilient, and fiercely independent. She has faced numerous challenges in her life, from the discrimination and violence she experiences as a hijra, to the loss of her child and her struggle to find her place in the world. Despite these difficulties, Anjum remains determined to live life on her own terms.

One of the most striking aspects of Anjum's character is her courage. She is unafraid to speak out against injustice and oppression, even when doing so puts her own safety at risk. For example, when a riot breaks out in her neighborhood, Anjum takes in several orphaned children and becomes their protector, even as she faces threats from the police and other authorities.

Anjum's strength also comes from her deep connection to her community. She is fiercely loyal to her fellow hijras, and she works tirelessly to create a safe and welcoming space for them. At the same time, she is also open to building relationships with people outside of her community, including the non-hijra activists who become her friends.

Another important aspect of Anjum's character is her search for identity and belonging. As a hijra, she exists outside of the gender binary and is often rejected by both mainstream society and the LGBT community. This leaves her feeling isolated and alone at times, but it also gives her a unique perspective on the world. She is able to see through the superficialities of gender and class and understand the ways in which all people are interconnected.

Anjum's search for identity and belonging is also reflected in her physical journey. Throughout the novel, she moves from place to place, searching for a home where she can truly belong. She starts out in Old Delhi, where she lives with her hijra community in a cemetery. Later, she moves to a houseboat on the Dal Lake in Kashmir, where she creates a new community with the people she meets there. Finally, she settles in a graveyard in Delhi, where she creates a refuge for the marginalized and the forgotten.

Anjum's character is also defined by her relationships with other characters in the novel. She forms close bonds with several people, including the activist Tilo and the young Kashmiri woman Zainab. These relationships are complex and sometimes fraught, but they ultimately bring a sense of connection and meaning to Anjum's life.

Overall, Anjum is a deeply nuanced and empathetic character, whose struggles and triumphs resonate with readers. Through her story, Arundhati Roy sheds light on the experiences of hijras and other marginalized groups in India, and she calls attention to the importance of building inclusive communities that embrace diversity and difference.

Gun Island Worksheet: 1 ,2

 Is Shakespeare mentioned in the novel? Or are his plays referred in the novel? (Write on the

reverse side of this paper)

Ans: Yes, Shakespeare is mentioned in the novel "Gun Island" by Amitav Ghosh. The protagonist, Deen, is a rare book dealer and he discusses Shakespeare and his works with other characters throughout the book. Specifically, in one scene, Deen mentions Shakespeare's play "The Tempest" and its connections to themes of migration and displacement, which are also explored in the novel. Additionally, the book also references other literary works, such as the Bengali epic "Manasamangal" and the Italian poem "Inferno" by Dante Alighieri.

2. What is the role of Nakhuda Ilyas in the legend of the Gun Merchant.

Ans: In the legend of the Gun Merchant mentioned in the novel "Gun Island" by Amitav Ghosh, Nakhuda Ilyas is a revered figure who is believed to have discovered the gun merchant's treasure and used it to establish a shrine in his honor.

The word "Nakhuda" is a Hindi-Urdu term that means "ship's captain" or "master of a vessel." In the novel, Nakhuda Ilyas is depicted as a skilled sailor who navigated the treacherous waters of the Bay of Bengal and played a key role in the legend of the gun merchant.

3. Make a table: write name of important characters in one column and their profession in

another.

1. Deen, the protagonist: Deen is a rare books dealer who specializes in finding and selling valuable books and manuscripts. He is originally from Kolkata but now lives in the United States.

2. Cinta, Deen's friend and confidante: Cinta is a marine biologist who works for a non-profit organization that aims to protect endangered species of marine life. She is of Indonesian descent and lives in the United States.

3. Piya, a researcher: Piya is a young researcher who studies the behavior of dolphins in the Sunderban mangrove forests in West Bengal, India. She is of Indian-American descent.

4. Rafi, a tea seller: Rafi is a tea seller who operates a small tea stall in Kolkata. He is a friend of Deen and provides him with information about the local area and its history.

5. Nirmal, Deen's neighbor in Kolkata: Nirmal is a retired schoolteacher who has a deep interest in the history and folklore of the Sunderban mangrove forests. He provides Deen with information about the local area and its legends.

6. Kanai, a businessman: Kanai is a successful businessman who is originally from Kolkata but now lives in Delhi. He is an acquaintance of Deen and provides him with information about the history of the Sunderban mangrove forests and the gun merchant legend.

4. Fill the table. Write the name of relevant character:

Believer in mystical happenings & presence of the soul of dead people: This character trait can be attributed to Nirmal, Deen's neighbor in Kolkata, who has a deep interest in the history and folklore of the Sunderban mangrove forests. He believes in the mystical happenings of the region and claims to have experienced the presence of the souls of the dead.

Rationalizes all uncanny happenings: This character trait can be attributed to Deen, the protagonist of the novel, who is a rare book dealer and prefers to find rational explanations for unusual or supernatural events that he experiences or witnesses throughout the story.

Skeptic who is in-between but slightly towards center-right: This character trait can be attributed to Kanai, a successful businessman and acquaintance of Deen, who is generally skeptical and cautious about accepting claims or beliefs without evidence. However, he is not entirely closed off to the possibility of supernatural or mystical phenomena, and his position towards the center-right suggests that he is more likely to accept traditional or conservative views rather than radical or extreme ones.

5. What sort of comparison between the book and the mobile is presented at the end of the

novel? (Write on the reverse side of this paper)

At the end of the novel "Gun Island" by Amitav Ghosh, there is a comparison made between books and mobile phones. Deen, the protagonist, reflects on how books and mobile phones are both repositories of stories and knowledge. He muses that just as mobile phones can connect people across vast distances, books can connect people across time and space.

Deen also notes that while mobile phones have become ubiquitous and almost essential in modern society, books continue to hold a special place in people's hearts and minds. He compares the physical presence and sensory experience of reading a book with the transience and superficiality of using a mobile phone. Deen suggests that while mobile phones may be more efficient and convenient for certain tasks, books offer a depth and richness of experience that cannot be replicated by digital technology.

Thus, the comparison between the book and the mobile presented at the end of the novel is one that contrasts the enduring value of books with the fleeting nature of technology, and highlights the unique role that books play in connecting people with the past, present, and future.

II – Use ChatGPT > chat.openai.com and type these prompts to write the answers

6. Tell me something about Amitav Ghosh’s novel Gun Island in 100 words

Amitav Ghosh's novel "Gun Island" is a rich and complex narrative that weaves together history, mythology, and contemporary concerns. The novel follows the journey of Deen, a rare book dealer, as he travels from Kolkata to Venice to Los Angeles, tracing the origins of a mysterious legend about the Gun Merchant and the goddess Manasa. Along the way, he encounters a diverse cast of characters who are grappling with issues of identity, belonging, and environmental degradation. Through Deen's journey, Ghosh explores themes of migration, globalization, climate change, and the power of storytelling to connect people across time and space. With its intricate plot and vivid descriptions, "Gun Island" is a thought-provoking and engaging read that challenges readers to reconsider their relationship with the natural world and the stories that shape our lives.

7. What is the central theme of Amitav Ghosh’s novel ‘Gun Island’?

The central theme of Amitav Ghosh's novel "Gun Island" is the interconnection between humans and the natural world, and the impact that humans have on the environment. Through the character of Deen, the novel explores how people's actions, both historical and contemporary, affect the ecological balance of the planet and contribute to climate change.

Another central theme of the novel is the power of storytelling and mythology to shape our understanding of the world and our place in it. Ghosh draws on the rich cultural traditions of India and the Sunderban region to explore how stories and beliefs can serve as a source of knowledge and wisdom, but can also be manipulated or distorted for personal or political gain.

Overall, "Gun Island" is a novel that raises important questions about our relationship with the natural world and the role that storytelling plays in shaping our understanding of the world around us.

Write 10-12 words about climate change in the novel. Mention number of times they recur.

The words related to climate change that recur multiple times in Amitav Ghosh's novel "Gun Island" include rising sea levels, floods, storms, droughts, extreme weather events, melting glaciers, climate refugees, environmental degradation, and the human impact on nature. These terms are mentioned several times throughout the novel to highlight the devastating effects of climate change on both the natural world and human society.

Explain the title of the novel. [Key words: venedig, hazelnut]

The title of Amitav Ghosh's novel "Gun Island" refers to a small island located in the Sunderban region of West Bengal, India, where the protagonist Deen encounters a legend about the Gun Merchant and the goddess Manasa. However, the title is also significant for its reference to another location in the novel, the city of Venice, which is known for its history of trade and commerce, as well as its associations with art and culture.

In the novel, the connection between the two locations is made through the story of the Venetian explorer Niccolò de' Conti, who is said to have brought back a hazelnut from his travels to India in the 15th century. This hazelnut, according to legend, was planted on the island of Giudecca in Venice and grew into a thriving hazel tree, thus linking the two locations across time and space.

The title "Gun Island" therefore serves as a metaphor for the interconnectedness of human history and the natural world, and the ways in which stories and legends can transcend geographical and temporal boundaries.

Match the characters with the reasons for migration (Video 4 Human Trafficking/Migration)

Dinanath - Natural calamities

Palash - To better socio-economic condition

Kabir and Bilal - Violence and riots - family feuds & communal reasons

Tipu and Rafi - To better socio-economic condition

Lubna Khala and Munir - Some uncanny sort of restlessness

Match the theorist with the theoretical approach to study mythology (Video 2 Historification

of Myth and Mythification of History)

Theorist - Theoretical Approach:

Bronislaw Casper Malinowski - Functionalism

Claude Levi-Strauss - Structuralism

Sigmund Freud - Psychoanalysis

Emile Durkheim & Jane Harrison - Myth and Ritual

6. Suggest research possibilities in Amitav Ghosh’s novel ‘Gun Island’ (write behind this page)

1.  A study of the themes of climate change and environmental degradation in the novel and their implications for contemporary society and global politics.

2. An analysis of the intertextual references and literary allusions in the novel, including the connection between the Venetian explorer Niccolò de' Conti and the legend of the Gun Merchant, and their implications for the understanding of historical and cultural identity.

3. An examination of the role of folklore, mythology, and storytelling in the novel, and their significance in shaping individual and collective identities.

4. An exploration of the representation of migration and displacement in the novel, and its implications for the understanding of human rights and social justice.

5. A study of the characters in the novel, their psychological motivations, and their relationships to one another, and how they reflect broader social and cultural trends.

6. An analysis of the narrative structure and style of the novel, including the use of multiple voices, shifting perspectives, and literary techniques, and their contribution to the meaning and impact of the text.

7. An investigation of the cultural and historical contexts of the novel, including the politics of globalization, the legacies of colonialism, and the challenges of contemporary multiculturalism.

7. Generate a sonnet on Amitav Ghosh’s novel Gun Island (Write it on reverse side of this page)

Amidst the pages of Gun Island's tale,

A world of wonder and enchantment waits,

With characters that do so deeply prevail,

Intriguing plots and twists that captivate.

A journey through a changing world, so vast,

Where land and sea collide in raging storms,

A search that's driven by a haunting past,

Where truth and myth are tangled in their forms.

A hazelnut, a legend, and a quest,

Intrigue and mystic secrets that unfold,

A tale of beauty, sorrow, and unrest,

With stories that are timeless, yet untold.

In Gun Island, a world of myths and lore,

A journey to the heart of life's great core.

8. Generate the Multiple questions: 

What is the primary focus of Amitav Ghosh's novel Gun Island?

A) A family saga set in India

B) A mystery about a stolen artifact

C) A quest to uncover a lost legend

D) A political thriller set in the United States

Answer: C) A quest to uncover a lost legend

Which of the following themes is prominently featured in Gun Island?

A) Environmental degradation and climate change

B) Political corruption and power struggles

C) Family dynamics and generational conflict

D) Romantic love and relationships

Answer: A) Environmental degradation and climate change

Diffrence Between MLA 7th Edition and 8th Edition

 Difference between MLA 7th and 8th Edition 

Name:

Divya Parmar

Paper no: 209

Research Methodology

Roll no:

05

Enrollment no:

4069206420210024

Email id: 

divyaparmaro7o12@gmail.com

Batch: 

2021-23 M.A. sem: 4

Submitted to:

S. B. Gardi Department of English 

Maharaja Krishnakumarsinhji Bhavnagar University 

Points to Ponder: 

Introduction of Assignment Topic 

MLA 7th Edition

MLA 8th Edition 

Conclusion 

Citation       

Introduction of Assignment Topic 

In this Assignment, description of the comparison of the Book MLA 7th edition and MLA 8th edition. First we will read about both texts and then what is the difference about both the texts. 

MLA 7th Edition

MLA 7th edition, also known as MLA Handbook for Writers of Research Papers, is a set of guidelines for academic writing and research. It was published by the Modern Language Association in 2009 and replaced the 6th edition. MLA 7th edition is widely used in the humanities, especially in literature, language, and cultural studies. In this note, we will cover the main elements of MLA 7th edition and provide examples to help you understand how to use it.

General Format

           The general format for MLA 7th edition includes the following elements:

Typed, double-spaced text on 8.5" x 11" paper

1" margins on all sides

Font size 12, preferably Times New Roman

Page numbers in the upper right corner, 1/2 inch from the top and flush with the right margin

In-text citations and a Works Cited page

In-Text Citations

       In-text citations in MLA 7th edition follow the author-page style, which means   

      that the author's last name and the page number(s) from which the quotation or

   paraphrase is taken to appear in parentheses at the end of the sentence. For example:

(Smith 23)

(Johnson and Smith 56)

(Jones et al. 127)

If the author's name is mentioned in the sentence, only the page number(s) are included in the parentheses:

According to Smith, "the sky is blue" (23).

If the source has no page numbers, use other markers, such as paragraph numbers or section headings:

(Smith, para. 4)

(Jones, ch. 2)

If you cite multiple works by the same author, include a shortened version of the title in the citation:

(Smith, Handbook 23)

(Smith, Essays 56)

Works Cited Page

The Works Cited page is a separate page at the end of your paper that lists all the sources you have cited in your text. The entries are arranged alphabetically by the author's last name, or by the first word of the title if the author is unknown. The following elements are included in the Works Cited entry:

Author's name (last name, first name)

Title of the source (in italics)

Title of container (if applicable, in italics)

Other contributors (if applicable)

Version (if applicable)

Number (if applicable)

Publisher

Publication date

Location (if applicable)

The following are examples of different types of sources and how they should be formatted in the Works Cited page:

Book with one author:

Author's name. Title of Book. Publisher, Publication Date.

Example:

Smith, John. The Art of Writing. Penguin, 2010.

Book with multiple authors:

Author's names. Title of Book. Publisher, Publication Date.

Example:

Johnson, Mary, and James Smith. The History of Literature. Oxford UP, 2008.

Article in a journal:

Author's name. "Title of Article." Title of Journal, vol. number, issue number, Publication Date, pages.

Example:

Brown, Robert. "The Role of Education in Society." Education Quarterly, vol. 30, no. 2, 2009, pp. 23-35.

Website:

Author's name (if available). "Title of Page." Title of Website, Publisher or Sponsor of Website, Publication Date, URL.

Additional Guidelines

Here are some additional guidelines to keep in mind when using MLA 7th edition:

Use italics for titles of longer works, such as books and films, and quotation marks for titles of shorter works, such as articles and chapters.

Use the present tense when discussing literature, even if the work was written in the past.

Use a colon to separate the title from the subtitle in a book or film title.

Use abbreviations for months in the Works Cited page, but spell out the month in the text of your paper.

Use the abbreviation "et al." (meaning "and others") for sources with more than three authors.

Conclusion

MLA 7th edition is a widely used set of guidelines for academic writing and research in the humanities. Its guidelines cover the general format of papers, in-text citations, and the Works Cited page. In addition, it provides guidelines for formatting different types of sources, such as books, articles, and websites. By following these guidelines, you can ensure that your writing is properly formatted and documented, which is essential for academic integrity.

MLA 8th Edition 

MLA 8th edition, also known as MLA Handbook, was published by the Modern Language Association in 2016. It replaced the 7th edition and is the most recent version of MLA style. MLA 8th edition is widely used in the humanities, including literature, language, and cultural studies. This note will cover the main elements of MLA 8th edition and provide examples to help you understand how to use it.

1 . General Format

The general format for MLA 8th edition includes the following elements:

Typed, double-spaced text on 8.5" x 11" paper

1" margins on all sides

Font size 12, preferably Times New Roman

Page numbers in the upper right corner, 1/2 inch from the top and flush with the right margin

In-text citations and a Works Cited page

2 . In-Text Citations

In-text citations in MLA 8th edition follow the author-page style, which means that the author's last name and the page number(s) from which the quotation or paraphrase is taken appear in parentheses at the end of the sentence. For example:

(Smith 23)

(Johnson and Smith 56)

(Jones et al. 127)

If the author's name is mentioned in the sentence, only the page number(s) are included in the parentheses:

According to Smith, "the sky is blue" (23).

If the source has no page numbers, use other markers, such as paragraph numbers or section headings:

(Smith, para. 4)

(Jones, ch. 2)

If you cite multiple works by the same author, include a shortened version of the title in the citation:

(Smith, Handbook 23)

(Smith, Essays 56)

3 . Works Cited Page

The Works Cited page is a separate page at the end of your paper that lists all the sources you have cited in your text. The entries are arranged alphabetically by the author's last name, or by the first word of the title if the author is unknown. The following elements are included in the Works Cited entry:

Author's name (last name, first name)

Title of the source (in italics)

Title of container (if applicable, in italics)

Other contributors (if applicable)

Version (if applicable)

Number (if applicable)

Publisher

Publication date

Location (if applicable)

The following are examples of different types of sources and how they should be formatted in the Works Cited page:

Book with one author:

Author's name. Title of Book. Publisher, Publication Date.

           Example:

                      Smith, John. The Art of Writing. Penguin, 2010.

                       Book with multiple authors:

Author's names. Title of Book. Publisher, Publication Date.

           Example:

           Johnson, Mary, and James Smith. The History of Literature. Oxford UP, 2008.

Article in a journal:

Author's name. "Title of Article." Title of Journal, vol. number, issue number, Publication Date, pages.

           Example:

Brown, Robert. "The Role of Education in Society." Education Quarterly, vol. 30, no. 2, 2009, pp. 23-35.

Website:

Author's name (if available). "Title of Page." Title of Website, Publisher or Sponsor of Website, Publication Date, URL.

Difference Between MLA 7th Edition and 8th Edition 

MLA 8th edition and MLA 7th edition are two different versions of the Modern Language Association's (MLA) guidelines for formatting academic papers and citing sources. The main differences between the two editions are in the way sources are cited and the inclusion of new elements in the Works Cited page. Here are some of the key differences between MLA 8th edition and MLA 7th edition:

In-text citations

The main difference between the two editions is the way in-text citations are formatted. In MLA 7th edition, the author's name and the page number were enclosed in parentheses at the end of a sentence, like this: (Smith 23). In MLA 8th edition, the author's name is listed alone in parentheses, followed by the page number(s), like this: (Smith 23). This change is intended to make the citations more streamlined and easier to read.

Works Cited Page

The Works Cited page in MLA 8th edition includes some new elements that were not included in MLA 7th edition. These new elements include:

Publication dates for all sources

URLs for online sources (if available)

Inclusion of container titles, which are the larger works that contain the source being cited, such as a journal article in a journal, or a chapter in a book.

The order of the elements in the citation has also been changed slightly in MLA 8th edition.

Containers

In MLA 8th edition, the concept of "containers" has been introduced to help users understand the different levels of sources. Containers are larger works that contain the source being cited. For example, a journal article is contained within a journal, which is in turn contained within a database. MLA 8th edition requires that the citation include the container title and other relevant information for each level of container.

Abbreviations

In MLA 8th edition, abbreviations for commonly used terms, such as "vol." for volume and "no." for number, are no longer required. However, if an abbreviation is used in the source being cited, it should be included in the Works Cited entry.

Punctuation

The punctuation rules in MLA 8th edition have been simplified. For example, the use of colons and periods in Works Cited entries has been standardised. In MLA 7th edition, there was more flexibility in the use of these punctuation marks.

Italics and Punctuation

MLA 8th edition also introduced changes in the way italics and punctuation are used in the Works Cited page. In MLA 7th edition, titles of books, journals, and other long-form works were italicised. However, in MLA 8th edition, titles are italicised only when they stand alone or are part of a larger work (i.e., container titles). Additionally, the use of commas and periods in the Works Cited entry has been simplified in MLA 8th edition.

Conclusion: 

In conclusion, MLA 8th edition introduced several changes to the citation and formatting rules compared to MLA 7th edition. These changes aim to make the citation process more streamlined and easier to read, while also reflecting the changing landscape of academic research and publishing. It is important for students, researchers, and writers to stay updated with the latest edition of MLA style to ensure accurate citation and proper formatting of academic papers.

Word count: 1817

Citation: 

Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 7th ed., Modern Language Association of America, 2009.

Gibaldi, Joseph. MLA Handbook. 8th ed., Modern Language Association of America, 2016. 

Translation and Literary history: an Indian view

 Explanation of “Translation and Literature History : An Indian View” by Ganesh Devy

Name:

Divya Parmar

Paper no: 208 

Comparative Literature & Translation Studies

Roll no:

05

Enrollment no:

4069206420210024

Email id: 

divyaparmaro7o12@gmail.com

Batch: 

2021-23 M.A. sem: 4

Submitted to:

S. B. Gardi Department of English 

Maharaja Krishnakumarsinhji Bhavnagar University 

Points to Ponder: 

Introduction of Assignment Topic

Abstract of Article

Key points of Article 

Explanation 

Introduction of Assignment Topic

This Assignment Focuses on the topic Explanation of “Translation and Literature History : An Indian View” by Ganesh Devy. This artIcle is taken from Post-colonial Translation: Theory and Practice (Sussan Bassnett and Harish Trivedi). Here I put my understanding out of the entire article. 

Abstract of the Article

Translation is the wandering existence of a text in a perpetual exile,' says J. Hillis Miller

The statement obviously alludes to the Christian myth of the Fall, exile and wandering. In Western metaphysics translation is an exile, a fall from the origin; and the mythical exile is a metaphoric translation, a post-Babel crisis". Given this metaphysical precondition of Western aesthetics, it is not surprising that literary translations are not accorded the same status as original works Western literary criticism provides for the guilt of translations for coming into being after the original; the temporal sequentiality is held as a proof of diminution of literary authenticity of translations. The strong sense of individuality given to Western individuals through systematic philosophy and the logic of social history makes them view translation as an intrusion of "the other" (sometimes pleasurable). This intrusion is desirable to the extent that it helps define one's own identity, but not beyond that point. It is of course natural for the monolingual European cultures to be acutely conscious of the act of translation. The philosophy of individualism and the metaphysics of guilt, however, render European literary historiography incapable of grasping the origins of literary traditions. 

Key points of the article: 

Role of Translation

Threefold Classification

Structural Linguistics

Translation Consciousness

Conclusion 

Explanation of the Article: 

The article discusses the significant impact of Bible translation on the English language and literature. The translation of the Bible into English was considered a revolutionary event as it not only made the holy text more accessible to the English-speaking population but also influenced the style of writing in the English language. First paragraph of the article also highlights the connection between the Bible and Protestant Christianity, which aimed to recover the original spirit of Christianity. By translating the Bible, Protestant England attempted to understand and follow the teachings of Christianity in their original form. Furthermore, the paragraph mentions the use of translation as a tool to recover a sense of order in English literature. Chaucer used translation to create his Canterbury Tales, while Dryden and Pope used it to restore order in their writing. Other European languages, such as German and French, also made similar attempts at using translation as a tool to improve their literary expressions. 

This article highlights the significant role that translation plays in communicating literary movements across linguistic borders. The article mentions the tradition of Anglo-Irish literature, which emerged from the practice of translating Irish works into English initiated by Macpherson in the late eighteenth century. This tradition has given us writers such as Shaw, Yeats, Joyce, Beckett, and Heaney, who have contributed significantly to English literature. The article also discusses the convention of writing in Indian English literature, which was influenced by Indological activity and translation during the late eighteenth and nineteenth centuries. Many Indian English writers have been able to translate works themselves, indicating the importance of translation in the development of literary traditions. 

The article goes on to mention the impressive modern traditions of literature in settler colonies such as Australia, Canada, and New Zealand, which have emerged from the "translation" of settlers from their homelands to alien locations. The article further emphasises the importance of translation as a crucial condition for creativity in post-colonial writing in former Spanish colonies in South America, former colonies in Africa, and other parts of the world.

In summary, the article highlights that the origins of literary movements and traditions often involve various acts of translation. The practice of translation has played a crucial role in shaping the literary landscape across different cultures and languages. 

This article discusses the challenges faced by the study of literary translation, particularly in the context of establishing a theory of literary history. The paragraph suggests that literary traditions often originate in translation, and repeated acts of translation give them substance. However, since translations are often perceived as unoriginal, little thought has been devoted to the aesthetics of translation. Additionally, critics have not taken a clear position about the exact placement of translations in literary history. The article goes on to explain that the interdependence between meaning and structure in the field of linguistics has been based on monolingual data and situations, making it difficult to apply to translation. Even the theoretical formulation proposed by structural linguistics is not adequate to unravel the complexities of translation. Roman Jakobson's threefold classification of translations suggests that a complete semantic equivalence is the final objective of a translation act, but this is not always possible. He maintains that only a "creative translation" is possible, a view supported by formalistic poetics, which considers every act of creation as a unique event. 

 The article highlights the challenges of establishing a theory of literary translation and the difficulties of achieving complete semantic equivalence in the translation process. The lack of a clear position on the placement of translations in literary history and the complexities of meaning and structure in translation add to the difficulty of studying literary translation. 

The article discusses the relationship between structural linguistics, language, and translation. Structural linguistics views language as an open system of signs that acquires meaning through its relation to the culture and system to which it belongs. This theory views translation with scepticism, as it involves abstracting significance from one system of signs and merging it with another. However, the author argues that language is an open system that admits new signs and significance. This means that translation can be seen as a merger of sign systems, as the translator exploits the potential openness of language systems to bring closer materially different sign systems. By conceptualising a whole community of "translating consciousness," the author suggests that it is possible to develop a theory of interlingual synonymy and a more perceptive literary historiography. 

The article discusses the concept of a "translating consciousness" and how it is prevalent in Third World countries where colonial languages have gained dominance. In India, for instance, several languages are used simultaneously by language communities as if they form a continuous spectrum of signs and significance. The article argues that theories of foreign-language acquisition do not adequately explain the use of multiple languages in translation activity, and that Chomsky's linguistics, with its focus on semantic universals, has limitations. The article suggests that the translating consciousness treats source and target languages as parts of a larger and continuous spectrum of various intersecting systems of verbal signs.

The article also references C. Catford's A Linguistic Theory of Translation, which proposes isolating various linguistic levels of translation and drawing upon a general linguistic theory for any theory of translation. The article notes that modern Western linguistics has connections with comparative studies for Europe, Orientalism for the Orient, and anthropology for the rest of the world. 

This Further paragraph discusses how translation is not just a linguistic problem, but also an aesthetic and ideological problem that has a bearing on literary history. The author argues that literary translation is not simply a replication of a text in another verbal system of signs, but rather 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 act of translation is an attempt to revitalise the original in another verbal order and temporal space. The problems in translation study are similar to those in literary history, in that they involve the relationship between origins and sequentiality, which has not been tackled satisfactorily. However, literary communities with a "translating consciousness" may view the question of origins differently. The author notes that Indian literary communities possess this translating consciousness, as the foundation of modern Indian literature was laid through acts of translation by various writers. 

The Conclusion stating that Indian literary traditions are essentially traditions of translation because Indian metaphysics believes in the migration of the soul from one body to another, and this belief guides Indian philosophies of the relationship between form and essence. Indian literary theory does not place much emphasis on originality, but rather on the writer's capacity to transform and revitalize the original. The paragraph suggests that Indian literary traditions are not tied to a specific historical period or time but are timeless because significance, even literary significance, is considered ahistorical in the Indian view. The idea of repeated birth being the substance of all animate creations suggests that Indian literary traditions value the recycling and reuse of elements such as plot, stories, and characters, and this is seen as a transformation and revitalization of the original rather than a lack of originality. Overall, the paragraph highlights the importance of translation and transformation in Indian literary traditions, which are shaped by Indian metaphysics and philosophies of form and essence. 

Conclusion: 

In the conclusion, is clear that translation is not merely a linguistic problem, but also an aesthetic and ideological one that is closely linked to questions of literary history and the relationship between origins and sequentiality. The act of translation involves the replication of an ordered sub-system of signs within a given language in another corresponding ordered sub-system of signs within a related language, and it is an attempted revitalization of the original in another verbal order and temporal space.

In the Indian literary context, the significance of a literary work is not subject to the laws of temporality, and literary significance is considered ahistorical. Indian literary theory does not place undue emphasis on originality, but rather values a writer's capacity to transform, translate, restate, and revitalize the original. Thus, Indian literary traditions can be seen as essentially traditions of translation. 

These ideas demonstrate that the act of translation is a complex and nuanced process that involves not only linguistic considerations, but also aesthetic and ideological ones. The importance of cultural and historical contexts cannot be overlooked when approaching the act of translation, and understanding these contexts is crucial to achieving successful translations that can accurately convey the essence of the original work.

Word Count : 1803

Citation: 

Bassnett, Susan and Trivedi, Harish. Post-colonial Translation: Theory and Practice. Routledge, 1999. 

Singh, Madhu. "Translation and Literary History: An Indian View." Indian Literature, vol. 36, no. 4 (144), 1993, pp. 148-162.