Gun Island

Hello!

This blog is a direct response given to at ask assigned by Dr. Dilip Barad, under the study of a contemporary novel, 'gun Island'

Amitav Ghosh is an Indian author celebrated for his novels that blend history, culture, and storytelling. Born on July 11, 1956, Ghosh's works include "The Circle of Reason" and "The Ibis Trilogy," known for its exploration of globalization and colonialism. His writing is marked by meticulous research and a keen eye for detail. Ghosh's contributions to literature have earned him prestigious awards such as the Sahitya Akademi Award and the Padma Shri.

"Gun Island" by Amitav Ghosh is a contemporary novel that follows Deen, an antiquarian bookseller, on a journey from Kolkata to the Sundarbans. Through encounters with diverse characters and ancient legends, Deen grapples with the impacts of climate change and human displacement. Ghosh weaves together themes of environmental upheaval, cultural heritage, and resilience in a thought-provoking narrative that reflects on the urgent challenges of our time.

How does this novel develop your understanding of a rather new genre known as 'cli-fi'? 

Science fiction (often abbreviated as sci-fi) is a genre of speculative fiction that explores imaginative concepts derived from science and technology. It often depicts futuristic or alternative realities, posing "what if" questions about the impact of scientific advancements, societal changes, or extraterrestrial encounters on human life and civilization. Science fiction can encompass a wide range of themes and settings, including space exploration, time travel, artificial intelligence, genetic engineering, dystopian societies, and alien civilizations.

"Gun Island" by Amitav Ghosh is a novel that intricately weaves together themes of climate change, environmental degradation, and human adaptation. Here's a detailed breakdown of how it develops our understanding of the cli-fi genre:

Scientific Context and Realism: Ghosh incorporates accurate scientific information and real-world examples of climate change impacts, grounding the narrative in scientific reality. From discussions about melting glaciers to the effects of sea-level rise on coastal communities, the novel presents a detailed and nuanced portrayal of environmental issues.

Personal Narrative and Emotional Impact: Through the protagonist, Deen, and other characters, Ghosh explores the emotional toll of climate change on individuals and communities. Deen's journey from skepticism to acceptance of the reality of climate change reflects a common experience shared by many people today. By focusing on personal narratives, Ghosh humanizes the climate crisis, making it more relatable and emotionally resonant for readers.

Historical and Mythical Context: Ghosh skillfully interweaves historical events and myths with contemporary environmental concerns. By drawing parallels between past catastrophes, such as the Great Bengal Famine, and current environmental challenges, Ghosh highlights the cyclical nature of human-induced crises. Additionally, the incorporation of myths and legends adds depth to the narrative, emphasizing the timeless significance of humanity's relationship with the natural world.

Global Perspective and Intersectionality: "Gun Island" takes readers on a journey across continents, from India to the United States and Italy, underscoring the global nature of climate change. Through diverse characters and settings, Ghosh explores the intersectionality of environmental issues with other social, political, and economic factors. He highlights how climate change exacerbates existing inequalities and injustices, particularly affecting marginalized communities.

How does Amitav Ghosh use the myth of the Gun Merchant ['Bonduki Sadagar'] & Manasa Devi to initiate discussion on the issues of climate change, migration, the refugee crisis, and human trafficking?

The myth of the Gun Merchant serves as a metaphor for the ecological imbalance caused by human actions. Ghosh draws parallels between the ancient tale of environmental destruction and the modern-day challenges of climate change, deforestation, and habitat loss. By exploring the consequences of disrupting the natural order, Ghosh highlights the urgent need for environmental conservation and sustainable practices.

 Through the protagonist Deen's encounters with refugees and displaced communities, Ghosh addresses the human consequences of environmental degradation. The myth of the Gun Merchant reflects the timeless theme of displacement, as people are forced to flee their homes due to natural disasters, rising sea levels, and other environmental pressures. Ghosh sensitively portrays the experiences of migrants and refugees, shedding light on their struggles and resilience in the face of adversity. Ghosh links the myth of Manasa Devi, the goddess of snakes and fertility, to the plight of refugees seeking sanctuary and security. Like the serpent in the myth, refugees are often marginalized and demonized, facing discrimination and hostility as they search for safety. Ghosh challenges stereotypes and misconceptions about refugees, emphasizing their humanity and the moral imperative to offer compassion and assistance.

The narrative of "Gun Island" also delves into the darker aspects of migration, including human trafficking and exploitation. Ghosh highlights the vulnerabilities of migrants, particularly women and children, who are at risk of being trafficked and subjected to abuse and exploitation. Through the characters' experiences, Ghosh confronts the realities of human trafficking and calls attention to the need for greater awareness and action to combat this pervasive issue.

How does Amitav Ghosh make use of the 'etymology' of common words to sustain mystery and suspense in the narrative?

Amitav Ghosh likes to use where words come from to make his stories more interesting. In "Gun Island," there's a name, "Bonduki Sadagar," that people think means "Gun Merchant." But as the main character, Deen, investigates, he finds out it might mean something different. He learns that the old Arabic name for Venice was similar to "Bonduki," and it was also linked to the word for guns.

This discovery makes the story more exciting because it changes what people thought the name meant. Instead of just being about a person who sells guns, it could mean "the Merchant who went to Venice." This new idea shifts how Deen looks into things and adds a bit of suspense, making readers want to find out more about the characters and their pasts.

What are your views on the use of myth and history in the novel Gun Island to draw the attention of the reader towards contemporary issues like climate change and migration?

In his narratives, Amitav Ghosh often uses the origins of common words to create deeper layers of meaning and intrigue. In "Gun Island," he delves into the etymology of the name "Bonduki Sadagar," initially believed to mean "Gun Merchant." This linguistic exploration serves to maintain suspense in the story. As the protagonist, Deen, investigates the name's origins, he discovers that the old Arabic name for Venice was al-Bunduqevya, also associated with guns.

This revelation introduces ambiguity and fascination into the narrative. The initial assumption about the name is challenged, and a new interpretation emerges - "the Merchant who went to Venice." This change in understanding alters the course of Deen's investigation and adds suspense, keeping readers engaged in uncovering the mysteries surrounding the characters and their pasts.

By weaving the etymology of common words into the plot, Ghosh not only sustains suspense but also highlights the interconnectedness of language, history, and the story's themes. This literary device enriches the storytelling, encouraging readers to actively decode the layers of meaning within the words and enhancing the overall depth of the narrative experience.

Is there any connection between 'The Great Derangement' and 'Gun Island'?

Yes, there is a strong connection between "The Great Derangement" and "Gun Island," both authored by Amitav Ghosh. "The Great Derangement' is a non-fiction work in which Ghosh explores the cultural and literary implications of climate change, arguing that literature has largely failed to address this urgent global issue. On the other hand, "Gun Island" is a novel that incorporates themes of climate change, migration, and environmental degradation into its fictional narrative.  Both works deal with the theme of climate change and its impact on human societies and the natural world. "The Great Derangement" approaches this theme from a non-fiction perspective, analyzing the historical, cultural, and literary reasons for society's failure to adequately address climate change. "Gun Island," on the other hand, explores the consequences of climate change through a fictional story set in contemporary times.

While "The Great Derangement" provides a theoretical and critical analysis of climate change discourse, "Gun Island" delves into the human experience of environmental upheaval. The novel vividly depicts the consequences of climate change on individuals and communities, highlighting the displacement of people, the loss of traditional ways of life, and the destruction of natural habitats.

Both works integrate literature and environmental themes, albeit in different ways. "The Great Derangement" examines the absence of climate change narratives in literature and the challenges of representing such a complex phenomenon. "Gun Island," on the other hand, incorporates environmental themes into its fictional narrative, using storytelling as a means to explore the emotional and psychological dimensions of climate change. 

Thank You!

Narrative Patterns in ‘The Ministry of Utmost Happiness’

 Hello!

This blog is a direct response to an assignment given by Dr. Dilip Barad, Where I have written an assignment of my selected topic.

Name: Dangar Rinkal Nathabhai 

Batch: M.A (Fourth semester) 2022-24

Roll No.: 18

Enrollment number :4069206420220007

Paper Name: Contemporary Literatures in English

Assignment Topic: Narrative Patterns in ‘The Ministry of Utmost Happiness’

Paper Number : 207

Paper code : 22414

Introduction 

Arundhati Roy is an Indian author, activist, and public intellectual renowned for her distinctive voice in both fiction and non-fiction. Born on November 24, 1961, in Shillong, India, Roy gained international acclaim with her debut novel, "The God of Small Things," published in 1997. This novel, which won the Man Booker Prize, explores themes of caste, politics, and social hierarchies in post-colonial India through the lens of a family saga.

In 2017, after a two-decade hiatus from fiction, Roy returned with her second novel, "The Ministry of Utmost Happiness." This highly anticipated work delves into the complexities of contemporary India, weaving together a multitude of characters and narratives that span the country's vast socio-political landscape. Through vivid prose and richly drawn characters, Roy explores themes such as religious and ethnic strife, gender identity, environmental degradation, and the struggle for justice and dignity.

"The Ministry of Utmost Happiness" reflects Roy's deep engagement with social and political issues, echoing her activism and advocacy for marginalized communities, environmental conservation, and human rights. It's a sprawling, ambitious work that showcases Roy's keen insight into the complexities of the human experience and her unwavering commitment to speaking truth to power.

[My second novel] is like a city – it has form and then that form is ambushed, and yet

it still has form . . . it‟s not an accretion but it circles around itself, it has a structure . .

. . It is an Indian city, it has unauthorized colonies, it has illegal immigrants, it has do

Dogs and cows and creatures and bats . . . it is a porous Indian city with its own plans

(Roy, personal communication, Jan 16, 2018).

The Beginning

The narrative begins with a vivid depiction of a necropolis, a graveyard that serves as a metaphor for the decay and corruption permeating Indian society. Through this unconventional setting, Roy immediately establishes the tone of the novel, hinting at the themes of mortality, social injustice, and the persistence of memory. By focusing on the necropolitics of India, Roy exposes the ways in which political corruption and societal discrimination have led to the erosion of democratic values and the marginalization of certain groups.

Anjum, the novel's central character, embodies the intersectionality of oppression, being a trans-woman who faces discrimination not only for her gender identity but also for her caste and religious background. Through Anjum's story, Roy delves into the complexities of identity in contemporary India, highlighting the pervasive influence of casteism, Islamophobia, and media sensationalism. The necropolis becomes a microcosm of the larger dystopian society, where individuals like Anjum struggle to find acceptance and belonging amidst prejudice and violence.

 The Interwoven Lives

As the narrative unfolds, Roy introduces a diverse cast of characters whose lives intersect in unexpected ways. Tilo, Biplab Das, Naga, and Musa represent different facets of Indian society, each grappling with their own struggles and aspirations. Tilo, an unconventional architecture student, becomes a focal point for the novel's exploration of love, activism, and resistance. Her relationship with Musa, a Kashmiri man involved in the struggle for freedom, exposes the injustices faced by marginalized communities and the failures of governmental institutions.

Through the interconnected stories of these characters, Roy deconstructs stereotypes and challenges conventional notions of heroism and sacrifice. The novel's narrative structure, which shifts between different perspectives and timelines, mirrors the complexity of contemporary India and the multiplicity of voices that contribute to its social fabric. Roy's portrayal of love, friendship, and solidarity amidst adversity underscores the resilience of the human spirit and the potential for collective action in the face of oppression.

Building Utopia Amidst Dystopia

Despite the pervasive dystopian elements of the narrative, Roy offers glimpses of hope and possibility through the character of Anjum and her efforts to create a utopian sanctuary within the necropolis. The Jannat Guest House, a refuge for outcasts and misfits, symbolizes the transformative power of community and empathy. Miss Jebeen, the enigmatic figure who bridges the divide between the novel's disparate storylines, embodies the potential for change and renewal in a world plagued by despair and disillusionment.

Roy's narrative strategy of juxtaposing dystopian realities with utopian aspirations creates a dynamic tension that propels the story forward and invites readers to imagine alternative futures. By weaving together threads of hope and despair, she challenges readers to confront the complexities of contemporary society and to consider their own roles in shaping a more just and equitable world.

Narrative Techniques and Criticisms

Roy employs  wide range of narrative techniques, including epistolary writing, stream of consciousness, and multimedia elements, to create a rich and immersive reading experience. However, some critics have argued that the novel's exposition-heavy style can feel didactic at times, sacrificing nuance and subtlety for the sake of social commentary. The abundance of detail and the lack of narrative economy have led some readers to feel overwhelmed or disengaged, detracting from the novel's overall impact.

Despite these criticisms, Roy's use of diverse textual formats and storytelling devices adds depth and complexity to the narrative, allowing for multiple perspectives and voices to be heard. The novel's hybrid structure reflects the fragmented nature of contemporary life and the interconnectedness of global events, reinforcing its thematic exploration of identity, belonging, and resistance.

 Themes and Symbolism

Throughout the novel, Roy explores a wide range of themes, including marginalization, empathy, language, and the power of storytelling. Symbolism plays a crucial role in conveying these themes, with motifs such as the necropolis, the Jannat Guest House, and Miss Jebeen serving as potent symbols of hope, resilience, and transformation. Roy's use of parallelism, metaphor, and wordplay adds layers of meaning to the text, inviting readers to engage with its deeper implications and resonances.

The novel's thematic richness and symbolic complexity contribute to its enduring appeal and its status as a thought-provoking work of literature. By interweaving narratives of struggle and resistance with moments of beauty and grace, Roy crafts a powerful meditation on the human condition and the quest for meaning and belonging in a world fraught with injustice and inequality.

Conclusion:

In "The Ministry of Utmost Happiness," Arundhati Roy offers a compelling exploration of contemporary India and the myriad forces shaping its social, political, and cultural landscape. Through its intricate narrative structure, rich symbolism, and thematic depth, the novel invites readers to confront difficult questions about identity, power, and resistance, while also affirming the enduring power of love, solidarity, and hope. Despite its narrative complexities and criticisms, "The Ministry of Utmost Happiness" stands as a testament to Roy's singular vision and her unwavering commitment to social justice and human dignity. Arundhati Roy has also referred many of the poets and lyrics to provide significance to the themes she had conveyed by ‘The Ministry of Utmost Happiness’

By the order of structure, the novel starts with the story of Anjum, a trans-woman, precisely a woman trapped in a man's body. The time gap is adjusted to tell the story of Anjum right from her birth to the events that led her to the first setting of the graveyard. Through this part of the narrative, Roy molds the one half of the dystopian sphere by etching the caste craze, media politics, gender politics, globalization, islamophobia etc. that rules the democratic India, which cracked the whole set up and demolished the “the ministry of utmost happiness”.

Thank You!

Translation as Catalyst: Forging Indian Modernist Poetics

 Hello!

This blog is a direct response to an assignment given by Dr. Dilip Barad, Where I have written an assignment of my selected topic.

Name: Dangar Rinkal Nathabhai 

Batch: M.A (Fourth semester) 2022-24

Roll No.: 18

Enrollment number :4069206420220007

Paper Name: Comparative Literature & Translation Studies

Assignment Topic: Translation as Catalyst: Forging Indian Modernist Poetics

Paper Number : 208

Paper code : 22415

Introduction

Translation has played in shaping the modernist poetic sensibility in major Indian literary traditions like Bengali, Malayalam, and Marathi between 1950-1970. The author argues that translations of seminal European modernist poets like Baudelaire, Rilke, Eliot, and Yeats helped create a space for the modernist discourse to emerge and thrive in Indian poetry. Many pioneering Indian modernist poets like Buddhadeb Bose, Agyeya, Dilip Chitre, and Ayyappa Paniker were also prolific translators whose "foreignizing" translations disrupted existing cultural codes and poetic norms.

The Modernist Movement in Indian Poetry

The modernist phase in Indian literary traditions has largely been excluded from global narratives of modernism, which remain heavily centered on late 19th/early 20th century Western writers. However, scholars like Simon Gikandi and Laura Doyle have argued for re-evaluating non-Western modernisms as not just derivative but as distinctive movements shaped by their specific socio-cultural and political contexts.

Indian modernism arose in response to the disruptions and crises precipitated by colonial modernity. Unlike its Western counterpart, it was oppositional in nature, questioning nationalist/romantic discourses and ideologies that had become apparatuses of the nascent nation-state. Experimental modernist writing in Indian languages ranged from the avant-garde and anarchic to the formalist and conventional.

While sharing some defining features of European modernism like experimentation, cosmopolitanism and insularity, Indian modernist poetry was markedly different in its political affiliations and ideological orientations due to its postcolonial location. It did not share the imperial and metropolitan aspirations of Western modernism but was rooted in regional cosmopolitan traditions.

Translation as Catalyst

Translation has enabled Indian modernist poets to engage in a complex negotiation with Western modernity and modernism on their own terms, selectively assimilating certain aspects while resisting its ideological baggage. Translation enacted "a critical act of evaluation, a creative act of intervention and a performative act of legitimation" in evolving a new modernist poetic.

Many pioneering modernist figures were bilingual and laid out the foundational principles of their new aesthetic in essays written in English as well as their native languages. Poets like Sudhindranath Dutta (Bengali), B.S. Mardhekar (Marathi) and Ayyappa Paniker (Malayalam) produced incisive critiques of prevailing poetic traditions while also translating major Western poets.

For instance, Dutta's translations of Mallarmé and Valéry, and Buddhadeb Bose's renderings of Baudelaire, Rilke, Pound and others opened up new modes of thinking and writing poetry in Bengali. Mardhekar, in his treatise "Arts and the Man", made a powerful case for modernist formalism in Marathi poetry. Paniker translated Eliot and published scathing criticisms of canonical Malayalam poets like Vallathol to clear the ground for an altered poetic sensibility.

These "translational" writings performed the pivotal function of interrogating and destabilizing the autonomy and authority of established aesthetic norms. At the same time, translations provided alternative models for Indian poets to imagine their art and the world differently.

Negotiating Modernity and Tradition

A key challenge for Indian modernists was how to negotiate their relationship with tradition even as they sought to transcend it. While the modernist mode in Europe could be seen as a complete break from the past, Indian poets could not simply abandon their own rich literary heritage stretching back millennia.

Poets like Mardhekar and the Bengali poets consciously revisited medieval Bhakti/Sufi poets and reworked them to forge a distinctly contemporary Indian modernist idiom. Their "foreignizing" translations disrupted prevailing modes and cultural assumptions, but also served to reconnect poets with their indigenous roots.

Figures like Sudhindranath Dutta emphasized the need to evolve a poetic authentically rooted in native traditions while also being truly universal and cosmopolitan in outlook - a complex negotiation that translations enabled. Their poetry represents an intertwining of the local and the global, the modern and the traditional in an organic synthesis specific to the Indian context.

Modernism, Form and the Self

Apart from thematic concerns, the article examines how Indian modernist poetry radically reinvented poetic form and craft in line with its ruptured vision of modernity and fragmented sense of selfhood. Form and content were seen as organically linked, with the modernist text rejecting allegorical and didactic tendencies in favor of open, fluid, evocative free verse forms.

The dense, allusive and self-reflexive styles developed by poets like Mardhekar embodied the psychological disorientation and alienation of colonial modernity. Translating modernist techniques opened up new formal possibilities for expressing the fissured, destabilized modern self.

Ayyappa Paniker's landmark long poem "Kurukshetram" is a characteristic example, with its fragmented images, fractured rhythms and lack of cohesive narrative mirroring the moral and social collapse experienced subjectively by the poet. Images and metaphors drawn from Indian mythology and folklore are fused with distinctly modernist techniques to forge a powerful new idiom.

Translation as a Mode of Being

Ultimately, the article suggests that translation became for the Indian modernists a fundamental "mode of being" that defined their ambivalent relationship with colonial modernity. As displaced, marginalized subjects, they inhabited an uncomfortable space between their own speech communities and an alienating modern world.

Their bilingual sensibilities and complex negotiation of seemingly contradictory cultural codes found expression through a poetic language that could transit fluidly between native and Western traditions. Translation offered a way to be both within their own cultures and outside them simultaneously.

For these poets grappling with the epistemic violence of colonial modernity, language became the only stable reality to relate to. Their self-reflexive modernist idiom, forged through acts of translation, embodied an existential striving for self-knowledge and autonomy in a world experienced as profoundly disorientating.

Conclusion

The practice of translation was absolutely central to the evolution and flourishing of modernist poetic sensibilities across multiple Indian literary traditions in the mid-20th century. By "carrying across" not just content but interior modes of being and perception, translation enabled Indian poets to reinvent their art in response to the disruptive turbulence of colonial and postcolonial modernity.

The case studies of pioneering figures reveal how translations facilitated a complex cross-pollination - dismantling older aesthetic regimes while also clearing a space for radically experimental forms consonant with the modern fragmented self's quest for authenticity. Ultimately, translation emerged as a potent means for marginalized poets to stake out a distinctive Indian modernist vision resonant with the region's heterogenous traditions yet conversant with global currents.

References

Ramakrishnan, E.V. "Shifting Centres and Emerging Margins: Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry." Indigenous Imaginaries - Literature, Region, Modernity, Orient Blackswan, 2017, pp. 239-253.

Plagiarism : How to know and how to avoid it?

Hello!

This blog is a direct response to an assignment given by Dr. Dilip Barad, Where I have written an assignment of my selected topic.

 Name: Dangar Rinkal Nathabhai 

Batch: M.A (Fourth semester) 2022-24

Roll No.: 18

Enrollment number :4069206420220007

Paper Name: Research Methodology

Assignment Topic: Plagiarism : How to know and how to avoid it?

Paper Number : 209

Paper code : 22416

Introduction:

What is Plagiarism? 

If schools wish to impress upon their students how serious an offense plagiarism is, they might start with an explanation of the world's history. Plagiarize (and plagiarism) comes from the Latin plagiarius “kidnapper.” This word, derived from the Latin plaga (“a net used by hunters to catch game”), extended its meaning in Latin to include a person who stole the words, rather than the children, of another. When plagiarius first entered English in the form plagiary, it kept its original reference to kidnapping, a sense that is now quite obsolete. (“Plagiarism Definition & Meaning”)

                        

Plagiarism involves two kinds of wrongs.Using another person's ideas, information, or expressions without acknowledging that person's work constitutes intellectual theft. Passing off another person's ideas, information, or expressions as your own to get a better grade or gain some other advantage constitutes fraud. Plagiarism is sometimes a moral and ethical offense rather than a legal one since some instances of plagiarism fall outside the scope of copyright infringement, a legal offense. (Nicholls 52)

Consequences of Plagiarism

A complex society that depends on well-informed citizens strives to maintain high standards of quality and reliability for documents that are publicly circulated and used in government, business, industry, the professions, higher education, and the media. Because research has the power to affect opinions and actions, responsible writers compose their work with great care. They specify when they refer to another author's ideas, facts, and words, whether they want to agree with, object to, or analyze the source. This kind of documentation not only recognizes the work writers do; it also tends to discourage the circulation of error, by inviting readers to determine for themselves whether a reference to another text presents a reasonable account of

what that text says. Plagiarists undermine these important public values.(Nicholls 53)

According to the International Centre for Academic Integrity (ICAI), academic integrity is a commitment to six fundamental values: honesty, trust, fairness, respect, responsibility, and courage. For research and learning to prosper, the academic community must be a hotbed for authentic ideas and fresh thinking.

The internet is flooded with a multitude of documents on various topics, seemingly meant for sharing. This abundance of information has shaped internet culture, promoting the ideal of freely exchanging ideas. While some students may question the need to credit authors, professional writers understand the importance of proper documentation, whether their sources are traditional print or electronic.

In academic settings, the ethos of sharing information is upheld, yet it doesn't negate the necessity of acknowledging authorship. Academic standards mandate that all writers attribute the work of others when incorporating it into their own papers and studies. Despite the ease of accessing information due to technological advancements, the fundamental tasks of research remain the same, requiring students to discern between borrowed content and original contributions.

As information sharing becomes easier, so does the prevalence of plagiarism. For instance, purchasing pre-written research papers online may lead some students to believe they can use the content freely without acknowledging its source. Yet, like books or magazines, purchased papers still require proper attribution. Moreover, educators can often trace downloaded materials through internet searches, making detection of plagiarism easier.

Plagiarism is a grave accusation that affects all writers deeply. Those accused of plagiarism are often viewed as incompetent, unable to generate and articulate their own ideas. Even worse, they may be seen as dishonest, willing to deceive others for their own benefit. When professional writers, like journalists, are caught plagiarizing, the consequences are severe—they could lose their jobs and face public humiliation, damaging their reputation irreparably. A single instance of plagiarism can permanently alter the trajectory of a writer's career.

Artificial intelligence applications have the potential to support student learning and development when used ethically and appropriately. However, inappropriate reliance can be a barrier to student learning and may lead to academic integrity breaches. Institutional leaders, faculty, staff, and students need to reflect on the differences between appropriate and inappropriate use of these applications. Institutions and their staff should develop effective guidance for their leaders, faculty, staff, and students that clearly outline responsibilities for these

applications' ethical, transparent use. (“Statement on Academic Integrity and Artificial Intelligence The International Center of Academic Integrity is dedicated to build”)

Plagiarism betrays the personal element in writing as well. Discussing the history of copyright, Mark Rose notes the tie between our writing and our sense of self-a tie that, he believes, influenced the idea that a piece of writing could belong to the person who wrote it. Rose says that our sense of ownership of the words we write "is deeply rooted in our conception of ourselves as individuals with at least a modest grade of singularity, some degree of personality"

Unintentional Plagiarism

When writing a research paper, individuals are tasked with synthesizing existing research and their own insights on the topic. While it's permissible to incorporate others' words, facts, and ideas, it's essential to attribute them properly. Essentially, it's akin to borrowing something from a friend—you need to acknowledge where it came from. This entails documenting the sources of direct quotes, paraphrased content, and information used.

Unintentional plagiarism can occur, especially when students copy material without realizing it's wrong. For instance, a student might inadvertently replicate everything from a source without understanding the implications. To prevent this, meticulous note-taking is crucial, ensuring clear differentiation between personal contributions and borrowed content. If accidental plagiarism is discovered after submission, individuals should promptly notify their instructor to rectify the situation, prioritizing honesty over potential consequences.

Forms of Plagiarism

The most blatant form of plagiarism involves submitting a paper written by someone else as if it were one's own. Other, less overt forms of plagiarism include failing to provide proper acknowledgment when restating or rephrasing another's words, appropriating a particularly apt phrase without citation, and paraphrasing another's argument or presenting their line of thinking without attribution.

There are three forms of Plagiarism: 

1. Repeating or Paraphrasing Wording,

2. Taking a Particularly Apt Phrase, and

3. Paraphrasing an Argument or Presenting a Line of Thinking.

1. Repeating or Paraphrasing Wording:

Repeating or paraphrasing wording in plagiarism refers to using someone else's words without proper attribution. It involves copying phrases, sentences, or paragraphs from a source and presenting them as one's own without acknowledging the original author. This can occur when a writer directly repeats or rephrases someone else's language without quotation marks or proper citation. Even though the words may be rearranged or slightly altered, failing to give credit to the original source constitutes plagiarism.

2. Taking a Particularly Apt Phrase:

Taking a particularly apt phrase in the context of plagiarism involves using a distinctive or noteworthy expression from someone else's work without giving credit to the original author. This form of plagiarism occurs when a writer appropriates a memorable or eloquent phrase from a source and incorporates it into their own writing without proper attribution. Even if the phrase is just a few words or a short sentence, failing to acknowledge the source constitutes plagiarism. It's important to provide proper citation to give credit to the original author and avoid the unethical practice of passing off someone else's words as one's own.

3. Paraphrasing an Argument or Presenting a Line of Thinking.

Paraphrasing an argument or presenting a line of thinking in the context of plagiarism involves rephrasing someone else's ideas or arguments without properly acknowledging the original source. This form of plagiarism occurs when a writer takes the concepts, arguments, or viewpoints of another person and presents them in their own words without giving credit. It's essential to provide proper citation when paraphrasing to indicate the source of the ideas being expressed. Failing to do so can lead to allegations of academic dishonesty and undermines the integrity of the writer's work.

Related Issues of Plagiarism:

Various issues closely linked to plagiarism and academic integrity encompass reusing a research paper, collaborative work, research involving human subjects, and copyright infringement.

Reusing a research paper, particularly to fulfill the requirements of a different course, is deemed dishonest and deprives individuals of the chance to enhance their understanding and skills. Seeking permission from the current instructor before revisiting a previously submitted paper is essential. Additionally, if incorporating portions of prior writing into a new paper, guidance from the instructor should be sought to ensure proper acknowledgment.

Collaborative work, such as group projects, is a common and encouraged practice in many educational settings and professions. As long as all contributors receive due credit, joint participation in research and writing is not considered plagiarism. Clear delineation of individual roles or equal acknowledgment for shared contributions is crucial. Consulting with the instructor for clarification on how to acknowledge collaboration is advisable when unsure.

Research involving human subjects, though less common at the high school or college level, necessitates adherence to institutional policies regarding informed consent. Whether conducting clinical trials or personal interviews, researchers must obtain consent from human subjects. It's prudent to inquire about institutional policies regarding research involving human subjects, particularly if relevant to a paper's topic.

Regarding copyright infringement, while summaries, paraphrases, and brief quotations are typically permissible with proper acknowledgment, reproducing or distributing an entire copyrighted work without permission constitutes a violation of copyright law. Even if the source is acknowledged, reproducing substantial portions of copyrighted material is unlawful. It's imperative to familiarize oneself with copyright laws, especially when dealing with published works in any medium. For comprehensive guidance on copyright and legal issues related to publishing, reference materials such as the MLA Style Manual and Guide to Scholarly Publishing.

When Documentation is Not Needed?

Apart from citing direct quotations and paraphrases, it's crucial to consider the relevance and acceptance of the information and ideas you gather from sources in relation to your audience and scholarly consensus on the topic. Generally, widely recognized facts, like basic author biographies or historical event dates, can be used without specific citation, as they are presumed to be commonly known. However, in cases where readers may require further clarification or when facts are heavily debated among scholars, proper documentation is necessary. You can attribute disputed information to the source you support or provide documentation for the entire controversy. While direct quotes and paraphrases always require citation, commonly known proverbs, sayings, and cliches typically do not. If you're unsure whether you're plagiarizing, it's best to err on the side of caution and cite your sources.

References:

Nicholls, David G. MLA Handbook for Writers of Research Papers. Modern Language Association of America, 2009.

“Plagiarism Definition & Meaning.” Merriam-Webster, https://www.merriam-webster.com/dictionary/plagiarism. Accessed 24 April 2024.

“Statement on Academic Integrity and Artificial Intelligence The International Center of Academic Integrity is dedicated to build.” International Center for Academic Integrity, https://academicintegrity.org/images/ICAI_Statement_on_Academic_Integrity__Artificial_Intelligence.pdf. Accessed 24 April 2024.

Fanonism and Constructive Violence in 'Petals of Blood'

 Hello!

This blog is a direct response to an assignment given by Dr. Dilip Barad, Where I have written an assignment of my selected topic.

Name: Dangar Rinkal Nathabhai 

Batch: M.A (Fourth semester) 2022-24

Roll No.: 18

Enrollment number :4069206420220007

Paper Name: The African Literature

Assignment Topic: Fanonism and Constructive Violence in 'Petals of Blood'

Paper Number : 206

Paper code : 22413

Introduction:

Frantz Fanon (1925-1961) was a Martinican psychiatrist, philosopher, and revolutionary thinker known for his influential works "Black Skin, White Masks" and "The Wretched of the Earth." Born in a French colony, Fanon explored the psychological impacts of colonialism, highlighting the internalized racism and identity struggles faced by the colonized. He advocated for revolutionary violence as a means to achieve liberation from colonial oppression. Fanon's work continues to inspire scholars, activists, and artists worldwide, shaping discourse on race, colonialism, and liberation.

Ngugi wa Thiong'o, like Fanon, sees violence as a tool for social change but makes a clear distinction: violence aimed at dismantling unjust social orders is justifiable, while violence used to maintain oppression is criminal. In his review of Majdalany's "State of Emergency" in 1963, Ngugi emphasizes the transformative potential of violence when employed in the service of liberation. He also asserts the resilience of African cultures against imperialism, stating that the fighting culture of African peasantry and working class cannot be destroyed. This perspective resonates with Fanon's recognition of the revolutionary potential in oppressed peoples' resistance against colonialism. Together, their perspectives challenge us to confront systemic violence and support struggles for genuine liberation.

What is Fanonism?

In Wretched of the Earth, Fanon presents the vision of violence as a constructive force. He says, “National liberation, national renaissance, the restoration of nationhood to the people, commonwealth: whatever may be the headings used or the new formulas introduced, decolonization is always a violent phenomenon” and “e naked truth of decolonization evokes for us the searing bullets and blood stained knives which emanate from it”. (Fanon, 1985, p. 27- 28). “The development of violence among the colonized people will be proportionate to the violence exercised by the threatened colonial regime” (p. 69) but the native's violence unifies the people. It frees the natives from inferiority complex from his despair and inaction. It works like a “cleansing force” for an individual.

The Defeat of the Mau Mau

The British troops sent to Kenya had little experience of forest fighting, and after a short period of ineffectual engagement they were replaced with units from the Kenyan Army, whilst the British forces instead patrolled the periphery of the forests. British Army planes were also used to drop bombs on Mau Mau camps and strafe the forest with machine guns. Given the thick cover provided by the foliage, this had only a limited military impact, but the lengthy bombing campaign did serve to demoralize the Mau Mau fighters. A series of large scale engagements between the two sides occurred during 1953, with the underequipped Mau Mau forces suffering heavy losses. By the end of the year, over 3,000 Mau Mau had been confirmed as killed and 1,000 captured (including Itote), and almost 100,000 alleged Mau Mau supporters had been arrested.[xvi] Despite this, the Mau Mau continued to pose an effective resistance to the colonial regime, persisting with the campaign of attacks on settlers and collaborators, particularly in Nairobi where the Mau Mau had a large, if largely clandestine support base. The British decided to undertake an operation to permanently crush the rebel presence in the city, and so in 1954 the aptly-named Operation Anvil began. Police moved through Nairobi in a brutal sweep, detaining anyone they considered suspicious. Tens of thousands of male Kikuyu were arrested and taken to concentration camps without explaining to them why they had been arrested or what crime they were accused of committing.[xvii] The government also began a policy of ‘villagisation’ – forcing rural Kikuyu to relocate from their traditional scattered homes to newly built villages under the control of the British.

Ngugi and Constructive Violence

In a 1963 review of Majdalany's "State of Emergency," Ngugi wa Thiong'o shares his perspective on violence, drawing parallels to Fanon's views. He distinguishes between violence aimed at changing unjust social orders, which he sees as purifying and justifiable, and violence used to uphold oppression, which he deems criminal and degrading. Ngugi also expresses confidence in the resilience of African cultures against imperialism, believing that the struggles of the African peasantry and working class reflect a fighting culture that cannot be extinguished by imperialism's neo-colonial tactics.

Kenya's history has seen a lot of violence. Many different groups came to Kenya's coast over hundreds of years, like the Indonesians, Arabs, Portuguese, and Omani Arabs. They came to trade, but sometimes there were conflicts with the local people. Europeans started coming to East Africa in the 1500s. By the late 1800s, they were moving further inland and taking land from the native Bantu peoples, like the Kikuyu.

This led to a struggle for land, and during the colonial years, British settlers and administrators used violence and oppression to control the land. The fight for freedom began in the late 1800s with leaders like Waiyaki Wa Hiinga. In the 1950s, the fight for independence grew stronger with leaders like Dedan, Kmathi, and others starting the Mau Mau movement. This was an armed struggle by the Kikuyu people against the British colonial forces. Ngugi wa Thiong'o was influenced by the Mau Mau movement.

The Mau Mau war was significant and changed Kenya's fate and that of other countries under British rule. It was the first time that ordinary people were fighting against a powerful country with a long military history. Finally, in 1963, Kenya became independent.

Constructive Violence in Petals of Blood

In Ngugi's 1977 novel, "Petals of Blood," he explores the quest for a political strategy to challenge and ultimately end global monopoly capitalism, of which Africa is a significant part. Ngugi portrays Kenya as a nation marked by the heroic struggles of its working class against centuries of domination by both natural forces and human oppressors.

The novel's setting, Ilmorog, symbolizes the face of Kenya as envisioned by Ngugi—a place where the working class of all backgrounds unite in a heroic struggle against exploitation and abandonment. Ngugi deliberately chooses a barren, drought-stricken region to illustrate how neo-colonialism prioritizes the interests of foreigners over the needs of the local people, who have endured immense suffering and sacrifice for their land.

In this narrative, capitalism threatens to erase the identity of Ilmorog, replacing it with a new version that serves the interests of external powers. Faced with this existential threat, the people of Ilmorog reach a point of no return and rally behind the novel's protagonists to resist their own destruction. Through "Petals of Blood," Ngugi sheds light on the resilience and determination of ordinary Kenyans in the face of systemic oppression and exploitation.

Wanja, a remarkable woman whose struggles mirror those of Kenya itself. Constantly battling for survival against a backdrop of societal humiliation and hostility, Wanja's character embodies the harsh realities of neo-colonialism.

In a world where one must either dominate or be dominated, Wanja finds herself compelled to adopt a cruel mindset, mirroring the brutality of her environment. She succinctly articulates the harsh truth of her situation: "You eat somebody or you are eaten. You sit on somebody or somebody sits on you." Wanja questions why she alone suffers for her actions when others, like Kimeria, are seemingly spared.

In a poignant scene, Wanja's act of striking Kimeria with a panga before setting fire to their surroundings symbolizes a form of individual freedom, according to Fanon, that serves to both soothe and purify her tormented soul. Through Wanja's experiences, "Petals of Blood" offers a stark examination of the complexities of personal agency and liberation within the context of systemic oppression.

Abdullah, the reserved Mau Mau fighter, was deeply let down by the very country he fought to liberate. Despite sacrificing his family and land for Kenya's independence, the new nation failed to provide him with the support he needed. Feeling betrayed, Abdullah took matters into his own hands by seeking vengeance against Kimeria, who had profited from betraying their Mau Mau comrades. In doing so, Abdullah reclaimed his dignity through an act of violence aimed at avenging his friend's death and protecting Wanja from harm.

Karega, a wandering soul, dedicated himself to uniting workers and advancing the cause of the trade union. Unlike Wanja, he rejected violence as a solution and remained steadfast in his search for lost innocence, hope, and faith. He believed that true change could not be achieved through violence and sought alternative paths to creating a better world.

Munira, known as the 'man of God,' struggled with a sense of detachment from life and yearned for a deeper connection to the world around him. Even his decision to dismiss Karega stemmed from a desire to assert his own agency and purpose. Inspired by a divine calling, Munira ultimately sought to cleanse the community of sin and corruption by burning down the 'Sunshine Lodge,' a symbol of exploitation and colonial influence. In this act, he sought redemption and the establishment of a more just and equitable society.

Conclusion

In "Petals of Blood," Ngugi wa Thiong'o presents a glimmer of optimism through the concept of constructive violence. Each protagonist, whether actively participating or silently supporting, becomes involved in acts of purification. Following the arson incident, Wanja's pregnancy, Joseph's rebellious actions at school, and Karega's role in renewed strikes and protests in Ilmorog, the next generation emerges imbued with the spirit of purification and courage inherited from their freedom-fighting parents.

The symbolism of constructive violence, exemplified by the arson, signifies a necessary destruction of the corrupted and rotten societal structures. From the ashes of this cleansing fire, there emerges a hopeful promise for the rebirth of a new Kenya—one characterized by justice, equity, and serenity. Through the transformative power of violence aimed at liberation and renewal, Ngugi hints at the potential for a brighter future where the sins of the past are purged and replaced by a society founded on principles of fairness and integrity.

References

Fanon, Frantz. (1985) The Wretched of the Earth. Penguin Books: London. pp. 27-75

Wa-Githumo, Mwangi. (1991). ‘The Truth about the Mau Mau Movement: The Most Popular Uprising in Kenya’ Transafrican Journal of History 20, p.9