Unraveling tara's psyche: A psychoanalytic probe into mahesh dattani's "tara" (2024)

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IJRCSINTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN(O): 2456-6683 Monthly Peer-Reviewed, Refereed, Indexed Journal [ Impact Factor: 7.148 ]

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INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY Rabindranath Tagore's 'The Cabuliwallah': A Dialogic Interpretation

Sunit Barui

The activities and curious prattles of a five-year-old girl Mini, the heroine of this story ,brings into sharp focus the multi-dimensional interactions of the discourses of the adult's and the child's world with dramatic intensity, thus liberating it from a cosy assumption of a culturally and politically innocent children's bed time story. The narrative journey ,though brief ,is tortuous enough , to propel the discourses of the narrator, Mini, Mini's mother and Rahaman, the Cabuliwallah, to enter a dialogic field. These voices , in the course of the linear progression of time and in consonance with the slice of life that is represented in this story, are few in number , but stratified culturally as well as psychologically. Thus voices are diverse and maintain their relative autonomy to satisfy the requirement of the pre-existence of differences for the operation of 'dialogue' in a social space. As Clark and Holquist points out in their seminal introduction to the life and thought of Mikhail Bakhtin, 'dialogue', the fundamental concept of Bakhtin's poetics builds upon the model of our everyday conversational dialogue. Bakhtin himself clarifies further : Dialogic relationships are possible not only among whole (relatively whole) utterances; a dialogic approach is possible toward any signifying part of an utterance, even toward an individual word, if that word is perceived not as the impersonal word of language but as a sign of someone else's semantic position. (Problems of Dostoevsky's Poetics,p-3) One of the most fascinating of Bakhtin's tropes for the operation of 'dialogism' is that of a bridge. This bridge connects not only the speaker and his or her interlocutor, but also individual words in a speech-act and forms a ' shared territory'. To elaborate a bit in the literary critical context, we may discover dialogue between characters, between a character and the narrator, and also within a single character's speech. Lynne Pearce, an eminent Bakhtin scholar observes in his essay " Bakhtin and the dialogic principle " : At its most profound, Bakhtin's dialogic principle thus teaches us that all words, all sentences, are oriented toward someone else's speech, regardless of whether that 'other' is present in the text or not.As he observes in The Dialogic Imagination (1984), all words , both in 'living conversation' and in written texts are 'oriented' towards a response of some kind. Bakhtin's wide variety of speech types are further deftly summarized by David Lodge into three broad categories: (1) the direct speech of the author; (2) the represented speech of the characters; and (3) doubly oriented or doubly voiced speech. Bakhtin pointed out the sub-categories of 'double-voiced' discourse and the most potential and frequently operative ones of them are: (1) stylization; (2) skaz; (3) parody; and (4) 'hidden polemic'. Exemplifying substantially from Doestoevsky's notes from the Underground Bakhtin refers the term 'hidden polemic' to those words and utterances that Lynne Pearce points out ' are actively, and often aggressively, in dialogue with other words or utterances not present in the text and which they try to defend themselves against'. Abstract: The present article endeavours to read a classic Tagore short story 'The Cabuliwallah' in the light of Bakhtinian dialogic criticism. In Mikhail Bakhtin's critical pronouncements 'dialogue' informs any cultural-linguistic communication or interaction. Difference is the prerequisite for a ' dialogue'. Differences are negotiated or addressed in the act of ' dialogue'. The philosophic core of 'dialogism' is essentially concerned with the theory of communication and meaning production in cultural domain. Though envisioned originally as a revolutionary alternative aesthetics by Bakhtin himself , it has been doing rounds across disciplines as an expedient ,yet fashionable explanatory framework for addressing the political import of any socio-cultural phenomenon, ever since it got currency in the west in the 1980s. Notwithstanding its specific literary-historical as well as political context in its provenance, dialogic perspective is being applied to other literary forms alongside novel , cutting across the traditional historical and geographical boundaries with varying degrees of critical satisfaction. Tagore's 'The Cabuliwallah', within a limited compass of its narrative space and time, produces a rich dialogic interaction of culturally stratified and politically inscribed voices and its multi-accentual discourses demonstrate the text's amenability to the application of other attendant Bakhtinian concepts like 'polyphony', 'heteroglossia' and 'the carnivalesque'.

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Impact of Technology on ELT: A Comparative View of Past and Present Bangladeshi ESL Teachers

Md Arman

Educational technology is as comprehensive as education itself. Today highly sophisticated technology is used in language teaching broadly, particularly in the post-COVID-19 period. During the pandemic, schools were shut down in the first phase but in the second phase when the situation was taking a long time, schools started opening one after another. Though they opened schools, giving physical classes was almost impossible. This was a good chance for the online platforms, Zoom, Google Classroom, Moodle, ClassDojo, etc., to offer their services for conducting classes or other academic activities. Students and teachers all over the world witnessed the rise of educational tools and software extensively and very fast. Everyone had to adapt to the new form of teaching practice. After the COVID-19 situation is over, though everyone returned to the physical class, an online class is a good option. If anything like COVID-19 hits us again, it is sure that learners and teachers will not waste a moment thinking about what to do and how to conduct classes and other activities because of the availability of educational technology and tools (software, websites, internet, etc.) which was a matter of tension during COVID-19, and before the pendant, it was not an issue to think about. Now everyone is used to online classes and examinations. Today they are using several instruments, video, live streaming, and even recording online classes so that the students who miss them can watch them later. The attitude of ESL teachers was not the same two decades ago in Bangladesh. The idea about technology for language teaching or learning, or the usage of technology in language teaching classes has changed widely. Once educational technology was meant very narrowly and was confined to some so-called advanced technologies while today it is beyond the thought of the ancient ESL teachers where the L2 teaching technology reached. For example, an L2 learner from Bangladesh can join directly the class of a teacher who is offering it sitting in the USA. They may never meet in their lifetime but teaching and learning are happening very effectively. The technology and tools used for teaching and learning language must not be confused with electronic gadgets. Today technology is not only concerned with the design and curricula evaluation, it

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Unraveling tara's psyche: A psychoanalytic probe into mahesh dattani's "tara" (2024)

FAQs

What is the significance of the stage design in Mahesh Dattani's Tara? ›

In Mahesh Dattani's play "Tara," the stage design holds significant importance in conveying the deeper themes and emotions of the story. The play explores complex relationships and societal expectations, and the stage design becomes a visual representation of these complexities.

What is the summary of Tara by Mahesh Dattani? ›

The play portrays the predicament of a girl child and the innate gender discrimination in our social strata. Dattani takes up the so called “invisible” issues of Indian society makes an entreaty to the audience for some emancipation from the social evils.

What is the major theme of the play Tara? ›

Tara by Dattani is a drama that addresses the issue of gender discrimination in contemporary Indian society. Woman in a patriarchal society is "the image of the woman holding the mirror to her face is the typical feminine image. In a male-dominated society, a woman is valued for her beauty and sex appeal.

What techniques did Mahesh Dattani use in Tara? ›

One of Mahesh Dattani's characteristic theatrical techniques, which he employs in Tara, is the division of space on stage to represent the distinction between physical reality and the mental states of the characters.

What is the main theme of Dattani's final solution? ›

Mahesh Dattani's Final Solutions focuses on the problem of communal disharmony between the Hindus and Muslims in India, especially during the period of the post- partition riots.

What are the major themes of Mahesh Dattani's play final solution? ›

1. Communalism and Religious Conflict: The play delves into the theme of communalism and the deep-rooted religious conflicts that plague society. It highlights the consequences of intolerance and the destructive impact it has on individuals and communities.

What is Mahesh Dattani's Tara as a problem play? ›

The play presents the deep rooted patriarchal system in the society. Women act as a key in the hands of patriarchy to perpetuate patriarchal values. In this play, Bharati despite of being mother of Tara spoils her daughter's life and suffers in the longer run because of her inhuman act.

How did Dattani portray Tara's character? ›

Dattani sees Tara as a play about the gendered self, about coming to terms with the feminine side of oneself in a world that always favours what is 'male'; but many people in India see it as a play about the girl child.

What are the major themes in Mahesh Dattani? ›

The major themes incorporated in the book are fascination for a male child, the female and the male selves of man, the power of optimism in life, exploitation of children for one's own sexual pleasure, imposition of heterosexuality, value of dance and music in life, fascination for metropolitan lifestyle and ...

How much did Tara suffer through her life because of the decision taken by her family? ›

This theory holds true with regard to Tara. In the course of the play, she undergoes two operations and she eventually dies. Her death is because of the gender difference that the mother saw amongst her children. Tara's value or importance was not recognized.

How important is the idea of family in Dattani's play Tara? ›

answer with special reference to tara? Family plays a pivotal role in Dattani's plays. Most of the families in his plays are typical Indian middle class families. It portrays facts such as gender issues and place of women in the society.

What is gender based injustice in Tara? ›

GENDER BASED INJUSTICE IN TARA

Dattani has presented the problem of the girl child in an urban family living in a metropolitian city like Bangalore, Where the parents have their bias towards the son and the daughter is neglected even though she might be smarter that her brother.

What are the important quotes from Tara by Mahesh Dattani? ›

Those who survive are those who do not defy the gravity of others. And those who desire even a moment of freedom, find themselves hurled into space, doomed to crash with some unknown force. I no longer desire that freedom.

Why does Bharati entice Roopa to be Tara's friend? ›

Bharati is burning with guilt. The way she tries to overprotect her daughter and how she literally pleads to Roopa to be friends with Tara, the way she argues for Tara to her husband can be seen more as an act of self-love to escape the ghost of her own mistakes rather than a sign of motherly love and care.

What is the significance of Roopa's role in the play Tara? ›

Roopa is being bribed by Bharati to be friendly with 'Tara'. Roopa runs off to tell her friends that Bharati wants to donate her own kidney. Patel does not approve of it that arouses quarrel between husband and wife and the husband bitter comment that her father‟s money was always Bharati‟s strength.

What is the purpose of stage scenery? ›

The most important purpose of scenery is to provide a place to act. The set should define the time and the setting of the play. A set should also help inform the audience about the effects of the envi- ronment on the characters, and how, in turn, the characters' personality traits affect their surroundings.

What are the significances of the stage directions? ›

Stage directions guide actors' movements: when and where to stand, sit, pace, enter, exit, dance, or carouse—otherwise known as blocking. They also establish a play's mood and tone through descriptions of costumes, lighting, and sound.

What language and techniques are used in Mahesh Dattani's Tara? ›

He uses Indian words profusely in his English plays. His characters are fond of using Gujarati dialogues. He has used a good number of Gujarati, Kannada and Hindi words in his plays. He is one of few dramatists who write their plays originally in English.

What is the significance of the title of Mahesh Dattani's play Bravely Fought the Queen? ›

The title, "Bravely Fought the Queen," is metaphorical and can be interpreted in various ways. It may refer to the characters' struggle against societal norms or the courage required to confront one's own identity.

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