International Journal of English and Comparative Literary Studies

Journal Information
ISSN / EISSN : 2709-4952 / 2709-7390
Total articles ≅ 22

Latest articles in this journal

Ritwik Ghosh
International Journal of English and Comparative Literary Studies, Volume 2, pp 71-78; doi:10.47631/ijecls.v2i3.247

In this paper, I argue that Greek poetry is a living tradition characterized by a diversity of voices and styles and that Greek poetry is a vital part of contemporary World Literature. The diversity of voices in contemporary Greek poetry gives it both aesthetic value and political relevance. Greek poetry, as it survives translation into a number of languages, including English, gives us a model for the successful translation of texts in both World literature and Comparative literature. A thematic analysis of some poems is presented in this paper. The aim is not to chronicle the contemporary Greek poetic production but to show how Greek poetic tradition continues to expand beyond national boundaries.
Amitrajeet Mukherjee
International Journal of English and Comparative Literary Studies, Volume 2, pp 45-54; doi:10.47631/ijecls.v2i3.221

This paper explores Thomas De Quincey’s seminal text Confessions of an English Opium Eater, examining the artistic vision of the writer and locating the author and his text within the context of the growing British Imperial project in the early 19th century. By locating the substance of his addiction, opium, within the economic, political, and cultural discourses that were developing in Britain at the time, this paper aims to deconstruct the ambivalent relationship that De Quincey, and by extension large segments of British society, had towards an imagined construction of the Orient. By analyzing the Gothic elements of De Quincey’s text, I argue that these images of the East are the signs of growing Orientalist discourse. They squarely locate Romantic tropes within the narrative of British Imperialism. In addition to exploring the fissured imagination of Asia that marks De Quincey’s work, this paper also briefly analyzes the psychological aspects of De Quincey’s contemplation of his addiction and presents a brief account of the role, opium played within the Romantic movement of the early 19th century. Through De Quincey’s opium-induced hallucinations, I attempt to analyze a mode of reflecting and presenting the sublime which was intrinsically linked to an imagined East that revisits the intersection of discourses of art, lived experiences, and the cultural and political anxieties of the era in which the primary text was produced to create a glimpse of the larger discursive function of De Quincey’s confessional memoir. This paper can thus be read as an intervention to re-engage with the links between Romantic aesthetic imaginations and the colonial enterprise of Empire building in the early 19th century.
Saima Akter
International Journal of English and Comparative Literary Studies, Volume 2, pp 79-87; doi:10.47631/ijecls.v2i3.219

This article aims to present a re-reading of Henrik Ibsen’s A Doll’s House from a feminist perspective. Ibsen’s play is a pioneering feminist play, and he is credited for creating the first real feminist character in the history of theatre. The central female characters are analyzed, and the article also addresses the attitude of society towards women and how they struggle to prove themselves. Feminist literary criticism and feminism constitute the conceptual framework of the paper. In this play, Nora Helmer is under the illusion that her married life is perfect and that she owns what she deserves. Torvald, her husband calls her a ‘twittering lark’, ‘squirrel’, ‘song-bird’, and she is pleased with it. However, her illusion shatters when she faces the reality of finding herself being treated like a doll. As soon as she realizes that there exists an individual self of her, she revolts. She leaves the house, challenging the social institutions which contribute to women’s subjugation. Nora protests against the ill-treatment towards her by society for her willingness to get her right back, for her self-respect, and for finding herself.
Balogun Sarah, Murana Muniru Oladayo
International Journal of English and Comparative Literary Studies, Volume 2, pp 55-70; doi:10.47631/ijecls.v2i3.255

This article attempts a comparative analysis of code-switching and code-mixing in the Nigerian music industry, using the lyrics of Flavour and 9ice as a case study. Although the English language is the national language in Nigeria and the language used by most of the musicians for the composition of their songs, and due to the linguistic plurality of Nigeria, most of these musicians tend to lace their songs chunks of words and phrases from their mother tongue or at least one of the three major languages in Nigeria, which are Hausa, Igbo, and Yoruba. The Markedness Model by Myers-Scotton (1993) is used as the framework to interrogate the switching and mixing in the codes used by these selected musicians and we find that while most code-switching is done in three languages – English, Nigerian Pidgin and the artist’ first language (mother tongue) – their mother tongue plays the prominent role. Code-switching or code-mixing in these songs, therefore, becomes a depiction of the Nigerian state with its diverse languages and it provides the links between the literates and the illiterates thereby giving the artiste the popularity desired. The study concludes that the unique identity created by code-switching and code-mixing in the Nigerian music industry has a positive influence on music lovers, helping artists to achieve wide patronage and reflecting the ethnolinguistic diversity of the Nigerian nation.
Priyanka Basu
International Journal of English and Comparative Literary Studies, Volume 2, pp 31-44; doi:10.47631/ijecls.v2i3.254

The paper explores how multiple personality disorder and schizophrenia are represented in selected Hindi films (Karthik Calling Karthik. Bhool Bhulaiyaa, Aparichit, Madhoshi) and how they affect the attitudes of the common people. Psychoanalytic theory is employed to analyze the concept of mental illness as depicted in these films. The protagonist in the films is a sufferer of either multiple personality disorder, schizophrenia, or mental illness, and these psychological states are central themes. After analyzing the films, it could be stated that Bollywood has moved beyond presenting religious rituals as a cure to mental illness. Psychiatrists gained importance in Hindi films, successfully representing some of the symptoms of multiple personality disorder and schizophrenia. However, the films just mention the treatment procedures and presented them as an easy method. Hence projecting the treatment of mental disorders in Hindi films remains less serious and fictional. Filmmakers should research and investigate the real patients, their families, and doctors before making films on mental illness.
J.R. Sackett
International Journal of English and Comparative Literary Studies, Volume 2, pp 1-15; doi:10.47631/ijecls.v2i3.220

With the passing of Richard Murphy in 2018, Ireland lost its last poet of the Anglo-Irish Ascendancy. Yet his poetry often displays the poet’s sense of unease with his background and features attempts to reconcile Ireland’s colonial history with feelings of guilt and self-consciousness as an inheritor to the gains of the British imperialist project. A dedicatory poem to his aging father who had retired to what was then known as Southern Rhodesia (modern-day Zimbabwe), ‘The God Who Eats Corn’ draws parallels between Irish and African colonial experiences. Yet far from celebrating the ‘civilizing’ mission of British imperialism, Murphy deftly challenges and questions the legitimacy of his family legacy. I argue that rather than reinforcing the poet’s image as representative of the Ascendancy class, ‘The God Who Eats Corn’ reveals sympathies with the subject peoples of British imperialism and aligns Murphy with a nationalist narrative of history and conception of ‘native’ identity. For this reason, the poem should be considered a landmark of modern Irish poetics in its articulation of trans-racial anti-colonial solidarity.
Lavanya Dalal
International Journal of English and Comparative Literary Studies, Volume 2, pp 16-30; doi:10.47631/ijecls.v2i3.203

Trauma Studies and Prison Narratives have emerged over the past few decades as the most significant fields in the humanities. There has been a significant discussion regarding the psychological effects of incarceration; however, literature examining prison as a site of trauma is unusual. Focusing on Iftikhar Gilani's My Days in Prison (2005) and Yvonne Johnson and Rudy Wiebe's Stolen Life: The Journey of a Cree Woman (1998), the article analyzes how prison narratives represent prison as a violent space that inflicts trauma in its characters. These prison narratives represent Yvonne Johnson, the prisoner in Stolen Life, and Gilani as victims of acute psychological trauma faced due to the sheer viciousness of the prison system. The article also concentrates on how the prison experience is both similar and different in Canada and India.
Refat Aljumily
International Journal of English and Comparative Literary Studies, Volume 2, pp 50-63; doi:10.47631/ijecls.v2i2.205

The 1821 translation of Goethe’s Faustus is not signed by the translator. We know who translated Friedrich Schiller’shistorical dramas ThePiccolominiand The Death of Wallenstein, for example, not because the translator identified himself as Coleridge but based on evidence from within and without. This article offers a three-part review to ‘Faustus’ from the German of Goethe translated by Samuel Taylor Coleridge’ (Oxford University Press, 2007), edited by Frederick Burwick and James C. McKusick. It argues that there is no definitive evidence during Coleridge’s lifetime or for centuries after his death that Coleridge was acting as an anonymous translator of Bossey’s text as Faustus.
Kanhaiya Kumar Sinha
International Journal of English and Comparative Literary Studies, Volume 2, pp 29-40; doi:10.47631/ijecls.v2i2.211

The present paper aims to produce a detailed account of the term ‘pragmatics’ and explore, by presenting and reviewing different models, its role in literature as it appears to be evident in different linguistic approaches to the study and analysis of literary genres. It is a fact that various pragmatic approaches such as speech act theory, conversational implicature, politeness theory, and relevance theory are developed mainly in relation to spoken interaction, yet, as some studies suggest, they offer invaluable insights to the study of literary texts. Consequently, the paper also strives to shed some light on the relationship these two terms – literature and pragmatics – enjoy so that their commonalities can be unmasked. It also tries to explore how pragmatics may help find out the ‘context’ and ‘meaning’ of literary discourse.
Zikrah Zikrah, Mohammad Tariq, Hafiz Mohammad Arif
International Journal of English and Comparative Literary Studies, Volume 2, pp 1-13; doi:10.47631/ijecls.v2i2.174

This paper aims to study Samih al-Qasim as a Palestinian resistance poet and to analyze his act of resistance against the Zionist agenda, his poetic imagination about Palestine, and the impact of colonization over the land. The paper also discusses Al-Qasim’s optimistic thoughts about the future of Palestine and the possible solutions for the Palestinian historical issue. A critical analysis of Samih al-Qasim’s resistance poetry is presented, focusing on his response to the Israeli narrative regarding Palestine. Through his poems, al-Qasim asserts and justifies the Palestinian cause. His poetry is counter-narrative, embodying considerable resilience and emitting rays of hope.
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