Thinking activity : Comparative Study Unit -1

Hello Readers,

         I'm Aditi Vala Student of Department of English,MKBU. This blog is a part of my classroom thinking activity and this activity given by Dr.Dilip Barad Sir. In semester 4 we have studied Comparative Studies and Translation Studies.In this blog discuss about the articles of comparative studies. 

      Why comparative Indian Literature?

Abstract : 

The article is about Indian literature and why comparative Indian literature is necessary for the whole culture.

Laudable though these attempts are in discovering the basic unity of the Indian creative mind,

They are made at the risk of ignoring the plurality of expressions in our creative life.

some so many scholars are talking about comparative Indian Literature.

It is also talking about commonwealth literature.

The article is also talking about Indian nation oneness & Indian language & Multilinguistic.

Key Arguments :

The world is Flat by Thomas Friedman.

The world is political.

The effect of Globalisation.

Main Analysis :

The time of Globalisation.

The Globalisation in-laws and Human rights should be Global.

The major issue of climate change.

The difference between multiculturalism & parallelism.

Conclusion :

If we can talk about comparative literature so we can get the idea that it is global and focus on Multiculturalism and it is a test of time. In language, there are two multi-languages. Also, there are two systems of knowledge to get an idea of civilization.

Amiya Dev, "Comparative Literature in India."

                                     -Amiya Dev

Abstract :

In his article, "Comparative Literature in India," Amiya Dev bases his discussion on the fact that India has many languages and literatures thus representing an a priori situation and conditions of diversity. He therefore argues that to speak of an Indian literature in the singular is problematic. Nonetheless, Dev also observes that to speak of Indian literature in the plural is equally problematic. Such a      characterization, he urges, either overlooks or obscures manifest interrelations and affinities. His article compares the unity and the diversity thesis, and identifies the relationship between Indian commonality and differences as the prime site of comparative. literature in India. He surveys the current scholarly and intellectual positions on unity and diversity and looks into the post-structuralist doubt of homogenization of differences in the name of unity, Dev also examines the search for common denominators and a possible pattern of togetherness and Dev underlines location and located inter-Indian reception as an aspect of interliterariness. It is t/here Dev perceives Indian literature, that is, not as a fixed or determinate entity but as an ongoing and interliterary process: Indian language and literature ever in the re/making.

Key Points :

Comparative literature in India 

Problem of looking Indian literature as written in single language Sanskrit. 

Single Focus perspective is a result of both a colonial and a post- colonial perspective. 

Gurbhagat , singh -"Differential Multulogue".

Problems with regard to the concept of mutuality

Key Arguments :

It has Binary opposition, focusing on dialectical.

The concept of the Hegelian and Marxist approach.

The Unity vs Diversity.

Analysis :

In this article, I discuss an apriori location of comparative literature with regard to aspects of diversity and unity in India, a country of immense linguistic diversity and, thus, a country of many literatures. 

Binary approach, my proposal involves a particular view of the discipline of comparative literature, because I argue that in the case of India the study of literature should involve the notion of the interliterary process and a dialectical view of literary interaction. Let me begin with a brief account of linguistic diversity: previous censuses in 1961 and 1971 recorded a total of 1,652 languages while in the last census of 1981 some 221 spoken languages were recorded excluding languages of speakers totaling less than 10,000. Many of the 221 language groups are small, of course, and it is only the eighteen listed in the Indian Constitution as major languages which comprise the bulk of the population's speakers. In addition to the eighteen languages listed in the Constitution, four more are recognized by the Sahitya Akademi (National Academy of Letters) for reasons of their significance in literature (Assamese, Bengali, Dogri, Indian English, Gujarati, Hindi, Kannada, Kankani, Kashmiri, Maithili, Malayalam, Manipuri, Marathi, Nepali, Oriya, Panjabi,

Rajasthani, Sanskrit, Sindhi, Tamil, Telugu and Urdu). However, this total of twenty-two major languages and literatures is deceiving because secondary school and university curricula include further languages spoken in the area of the particular educational institution. 

We are all aware that the so-called major Indian literatures are ancient -- two of them (Sansjrit and Tamil) ancient in the sense of Antiquity while the rest of an average age of eight to nine hundred years -- except one recent arrival in the nineteenth century as an outcome of the colonial Western impact (Indian English). This single-focus perspective is a result of both a colonial and a post-colonial perspective, the latter found in the motto of the Sahitya Akademi: "Indian literature is one though written in many languages" (Radhakrishnan). 

Singh accords literatures not only linguistic but also cultural singularities. With regard to the history of comparative literature as a discipline, he rejects both the French and the American schools as well as the idea of Goethe's Weltliteratur. Instead, he argues for a celebration of difference and has anticipated Charles Bernheimer's much discussed Comparative Literature in the Age of Multiculturalism. For Singh, comparative literature is thus an exercise in differential multilogue. His insistence on the plurality of logoi is particularly interesting because it takes us beyond the notion of dialogue, a notion that comparative literature is still confined to. 

Jaidev's concept of oneness provides an ambience for particular concerns with regard to cultural and artistic expression such as the case of language overlaps, the bi- and multilinguality of authors and their readership, openness to different genres, the sharing of themes based in similar social and historical experiences, emphasis on the oral and performing modes of cultural and artistic transmission, and the ease of inter-translatability. 

The notion of an "English" archive of Indian literature came about two decades ago by the suggestion of V.K. Gokak and Sujit Mukherjee who were speaking of an Indo-English corpus of literature that was created out of English translations of major texts from major Indian languages (see Mukherjee). Thus, the idea of Indian literature was authenticated and not only that, a history too was proposed for it with forms and techniques varying from age to age. Further, Gokak and Mukherjee suggested the canonization of their proposal by inserting the Indo-English corpus into university curricula.

The approach Das has taken is methodologically pragmatic: He has a team of scholars working with him (at least one scholar for each language) who collect the initial data which he then processes through a number of checks resulting in a chronological history of literature. In it we have simultaneous listings of similar events from all the twenty-two recognized literatures: Authors' births and deaths, dates of text composition and publication, classification in genres, text dissemination, reception, literary reviews and their impact, literary society formations and debates, translations from both inside and outside, and so on. 

With regard to the inherently and implicitly advantageous discipline of comparative literature it is interesting that the Gujarati poet Umashankar Joshi -- a supporter of the unity approach -- was the first president of the Indian National Comparative Literature Association, while the Kannada writer U.R. Anantha Murthy is the current president of the Comparative Literature Association of India in addition to being the president of Sahitya Akademi. The discipline of comparative literature, that is, its institutional manifestation as in the national association of comparatists reflects the binary approach to the question of Indian literature as I explained above. However, the Association also reflects a move toward a dialectic. 

Conclusion : 

Finally, let me assure you that, obviously, the problematics of unity and diversity are not unique to India. However, in keeping with my proposal that the situs of both theorist and theory is an important issue, I demonstrate here the application of the proposal. If I had discussed, for instance, Canadian diversity, it would have been from the outside, that is, from an Indian situs. I am not suggesting extreme relativism, but Comparative Literature has taught us not to take comparison literally and it also taught us that theory formation in literary history is not universally tenable. I am suggesting that we should first look at ourselves and try to understand our own situations as thoroughly as possible. Let us first give full shape to our own comparative literatures and then we will formulate a comparative literature of diversity in general.

Example :

 The people of Canada is knowing only the Canadian language.

French people is knowing the french language. so, every country has its own diversity.

    

       

Subha Chakraborty   Dasgupta, “Comparative Literature in India: An Overview of its History”, Comparative Literature & World Literature, Volume 1 Number 1 Spring 2016

 Abstract :

 The focus is on recovering new areas of non-hierarchical literary relations. 

An overview of the trajectory of Comparative Literature in India.

 Rabindranath Tagore’s speech on World Literature and with a modern poet-translator as its founder.

 Gradually Indian literature began to receive prominence.

  While British legacies in the study of literature were evident in the early years, there were also subtle efforts towards a decolonizing process and an overall attempt to enhance and nurture creativity.

Paradigms of approaches in comparative literary studies also shifted from influence and analogy studies to cross-cultural literary relations, to focus on reception and transformation. 

Key Arguments :

 A question of linking social and historical structures with aesthetics to reveal the dialectic between them.

 The materiality of comparison, the multi-dimensional reality of questions related to self and the other and to arrive at networks of relationships on various levels. 

 In the last few years, Comparative Literature has taken on new perspectives, engaging with different areas of culture and knowledge, particularly those related to marginalized spaces, along with the focus on recovering new areas of non-hierarchical literary relations. 

Main Analysis :

The idea of World literature gained ground towards the end of the nineteenth century when in Bengal, for instance, translation activities began to be taken up on a large scale and poets talked of establishing relations with the literature of the world to promote, as the eminent poet-translator Satyendranath Dutta in 1904 stated, “relationships of joy” (Dutta 124)

Tagore used the word “Visva Sahitya” and stated that the word was generally termed “comparative literature

Conclusion :

In all its endeavors, however, the primary aim of some of the early architects of the discipline to nurture and foster creativity continues as a subterranean force.

The comparatist work with the knowledge that a lot remains to be done and that the task of the construction of literary histories, in terms of literary relations among neighboring regions and of larger wholes one of the primary tasks of Comparative Literature today has yet perhaps to begin.

                            Thank you...