Bapsi Sidhwa: A Chronicle Of The Past Traumatic Memories
DOI:
https://doi.org/10.61841/7chzrx25Keywords:
Bapsi Sidhwa, Changing Society, Cracking India, Pakistani Bride, Partition, Traumatic, memoryAbstract
Much has been written about the holocaust that followed the Partition of India in 1947, but seldom has that story been told as touchingly view of Indian life can only be compared to V. S. Naipaul’s.”- Bloomsbury Review
Literature plays a major role in the improvement of society. Society follows a specific path, and literature is always helpful in exposing all aspects of society in its replication. For all readers to understand, colonial literature has been written on a scorching theme, reflecting the truly connected conditions of history. The partition of India and the powerful exodus of citizens are both frightening and memorable events of history. Many authors emphasized the current state of colonial literature in their works. One of the most renowned authors, Bapsi Sidhwa was an eyewitness of the both colonized and post-colonized era. Her novels have a myriad of interpretations to identify the feminine point of view, several societal hitches and innumerable unseen and unheard stories. Being a Persian, she is impartialin the interpretation of the historical events, and besides inferring episodes as an observer. Her writings Cracking India and Pakistani Bride illustrates the frightening and the critical circumstances of the post-colonial period.
Downloads
References
1. Astrid,Erll.“Traumatic pasts, literary afterlives, and transcultural memory: new directions of literary and media memory studies”, Journal of Aesthetics & Culture, vol. 3, no. 1, pp. 7186,2011, DOI: 10.3402/jac.v3i0.7186.
2. Brown, Steven. “The Quotation marks have a certain importance: Prospects for a ' memory studies”.
Memory Studies,2008,DOI: 10.1177/1750698008093791.
3. Crespo, M. & Fernández-Lansac, V. “Memory and narrative of traumatic events: A literature review”. Psychological trauma: theory, research, practice and policy, vol. 8, no. 2, pp. 149–156, 2016,DOI: 10.1037/tra0000041.
4. Deshai, Dhanusha. “Cultural quagmire and identity crisis in the novels of Bapsi Sidhwa”. Journal of higher education and research society. vol.1, no.1, pp. 205-214, 2013.
5. George, Rosemary Marangoly. “(Extra)Ordinary Violence: National Literatures, Diasporic Aesthetics, and the Politics of Gender in South Asian Partition Fiction.” vol. 33, no. 1, pp 135– 158,2007,DOI:10.1086/518371. Published by The University of Chicago Press, URL: http://www.jstor.org/stable/10.1086/518371.
6. Hai, Ambreen. “Border Work, Border Trouble: Postcolonial Feminism and the Ayah in Bapsi Sidhwa‟s Cracking India”,Modern Fiction Studies, vol. 46, no. 2, pp 379–426, 2000,DOI:10.1353/ mfs.2000.0028.
7. Hakyoung,Ahn. “Queer eyes and gendered violence in Bapsi Sidhwa‟s Cracking India,”. Journal of Postcolonial Writing,2019,DOI: 10.1080/17449855.2019.1627570.
8. Khan, Tariq and Naseer, Ahmed. “A feminist analysis of Bapsi Sidhwa‟s ice candy-man: an unbound practise of linguistic deposition of feminine frame”. Pakistan journal of society, education and language. vol. 5, no. 2, pp 37-48. 2019.
9. Mohsin, Jugnu. The Friday Times. July 20-26, 1989.
10. Pandey, Gyanendra. “Routine Violence: Nations, Fragments, Histories. Stanford”, CA: Stanford University Press. 2006.
11. Sidhwa, Bapsi. “Cracking India”. New Delhi: Penguin, 1991.
12. Sidhwa, Bapsi. “The Pakistani Bride”. New Delhi: Penguin, 1990.
13. Singh, K Pramod. “The novels of Bapsi Sidhwa: A Critical Evaluation”. Aadi Publication Jaipur India. 2013.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
- The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation .
No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.
