Dissertation Writing Assignment 210

                         Name : Upasna Goswami

Roll no. 20

Enrollment No. 4069206420220012

Sem : 4

Paper Name : Dissertation Writing

Paper no.  : 210

Paper Code : 22417

Submitted to : S. B. Gardi Department of English,M.K.B.U

Email : goswamiupasna339@gmail.com



"Exploring Feminist  Perspectives in Horror Films in 'Bulbbul'  & ‘Stree’”



Conclusion

Horror films have often tackled deeper societal issues in creative ways, challenging long-held beliefs and traditions. When we analyse movies like 'Bulbbul'  from a Feminist  perspective, we gain powerful insights into the harsh realities that many women face in male-dominated societies across the world. These films artfully blend supernatural, fantastical elements with gripping narratives that shine a light on the marginalisation, harassment, and abuse that women routinely endure in different cultural contexts. 


Let's dive deeper into 'Bulbbul'  a hauntingly beautiful Indian film set in late 19th century Bengal. The story centres around a young girl named 'Bulbbul' , who is forced into an arranged marriage with an older man called Indranil while still just a child herself. The devastating practice of child marriage was an all too common harsh reality for countless young girls during that era, cruelly robbing them of their childhood innocence and the fundamental freedom to make choices about their own lives and bodiesThe film pulls no punches in its poignant portrayal of the severe consequences stemming from this oppressive tradition. We witness the appalling subjugation and suppression of Female sexuality, as well as the widespread, pervasive violence and abuse inflicted upon child brides like 'Bulbbul' . Their very autonomy and personhood is stripped away, viewed merely as properties to be traded between men. "'Bulbbul' " is not just a sombre tale of victimhood. Through ingenious storytelling techniques that incorporate Indian folklore and supernatural elements, the film explores 'Bulbbul' 's transformative journey into a powerful mythical figure known as a "chudail" - a type of Female demonic entity in Indian legend and myth. This metamorphosis serves as an electrifying metaphor for ''Bulbbul' ' reclaiming her agency, her voice, and defying the very patriarchal system designed to subjugate and oppress her.


'Bulbbul' 's evolution challenges and subverts entrenched traditional gender roles and expectations. As she embraces her newfound supernatural powers, she invites audiences to confront their own deep-seated biases, preconceived notions, and blind adherence to regressive values regarding a woman's autonomy over her sexuality, identity and right to self-determination.One of the most profound aspects of "'Bulbbul' " is its sensitive exploration of the severe psychological trauma, anguish and enduring mental health impacts experienced by women living under the crushing weight of patriarchal oppression. 'Bulbbul' 's supernatural transformation is not just a neat plot device, but rather a symbolic representation of the internal demons she must grapple with - the desperate need to purge herself of the internalised trauma and reclaim her sense of self after years of abuse and subjugation.The film compels viewers to empathise with the devastating psychological toll of abuse, domestic violence, objectification and the insidious effects of having one's identity and individuality suppressed over years and decades. It underscores the urgent need for robust support systems, accessible mental health resources and a fundamental reexamination of the societal structures that enable the continued oppression of women.In portraying 'Bulbbul' 's transformation into a powerful, supernatural "chudail," the film dismantles the trope of the meek, powerless Female victim. Instead, it depicts her as the master of her own destiny - an agent of defiant change who exacts a form of primal, karmic vengeance against her tormentors while symbolically reclaiming the autonomy that was violently stripped away from her for so long."'Bulbbul' " is more than just an entertaining horror flick dripping with ghoulish folklore. At its core, it is a profound Feminist  commentary that lays bare the insidious ways in which oppressive patriarchal norms pervade our societies and psyches, often through innocuous-seeming traditions and casually regressive attitudes. By having ''Bulbbul' ' metamorphose into a terrifying yet empowered supernatural entity, the film obliterates misogynistic notions of feminine passivity and obedience.


Ultimately, 'Bulbbul'  beckons viewers to interrogate their own implicit biases about gender roles, Female sexuality and the very notion of a woman's sovereignty over her own body, mind and fate. Through 'Bulbbul' 's transformative journey, the film imagines an world where women fight back against subjugation, refusing to be objectified, silenced or controlled any longer. It invites audiences to become co-conspirators in this revolutionary reclamation of the narrative.One of the most profound and hard-hitting aspects of "'Bulbbul' " is its unflinching depiction of the severe psychological trauma and immense toll on mental health caused by systemic oppression and abuse of women. 'Bulbbul' 's transformation into a supernatural "chudail" entity is much more than just a neat fantastical plot twist. It serves as a powerful metaphorical representation of the internalised trauma, emotional turmoil, and desperate yearning for liberation that she carries within after enduring years of patriarchal oppression. 


Through 'Bulbbul' 's metamorphosis, the film invites viewers to step into her metaphorical shoes and try to empathise with the lasting psychological scars of enduring abuse, domestic violence, objectification, and the insidious effects of having one's core identity and individuality suppressed over an entire lifetime. It sheds a glaring spotlight on the urgent need for more robust support systems, accessible mental health resources, and a fundamental reexamination of the very societal structures that enable the continued oppression of women.Leaving the 19th century behind, the 2018 film "Stree" transports us to the modern era to explore the still-prevalent issues of harassment and objectification of women through the lens of the supernatural. Set in the Indian town of Chanderi, the film deftly navigates the prickly societal attitudes and regressive mindsets that enable and normalise the harassment of women in daily life. 


"Stree" presents a powerful dichotomy - on one hand laying bare the very real fear, discomfort and psychological toll harassment takes on women, while simultaneously upending the notion of the docile, powerless Female victim. The eponymous "Stree" is depicted as an enigmatic, formidable supernatural force to be reckoned with - a far cry from the meek, helpless woman society expects.By embodying the spirit of Female vengeance and retribution within the "Stree" entity, the film dismantles traditional tropes and rejects the objectification of women. It portrays them not as fragile damsels to be leered at, but as powerful agents of their own destinies who are fully capable of exacting retribution to reclaim their autonomy when pushed too far.One of the most impactful storytelling techniques "Stree" employs is its deft use of humour and satire as a potent tool to critique societal norms and attitudes that propagate the harassment and marginalisation of women. Rather than adopting a completely sombre, heavy-handed approach, the film uses cutting wit and irreverent humor to subversively challenge the audience's own preconceived notions and unconscious biases.By dressing up serious underlying themes of sexual harassment and objectification in an entertaining package of comedy and horror tropes, "Stree" manages to disarm viewers and compel them to critically examine the ways in which misogynistic behaviors and mindsets are insidiously normalized in their own lived realities. The humour acts as a Trojan horse to sneak in powerful social commentary that may have been easier to dismiss if packaged in a more didactic, preachy vessel.Through the lens of the supernatural "Stree" entity and its darkly comedic exploits, the film encourages audiences to reflect deeply on the myriad ways - both overt and insidious - in which women are objectified, dehumanised and made to feel unsafe or uncomfortable on a daily basis across all strata of society. Issues like street harassment, insidious objectification in media/advertising, and the normalization of rape culture are laid bare, balanced with a deft comedic touch that enhances rather than undermines the sobering subject matter.


In summary, both 'Bulbbul'  and ‘Stree’ employ supernatural elements and horror tropes not just for entertainment value, but as allegorical vehicles to explore critical Feminist  themes. While "'Bulbbul' " delves into the crippling psychological impacts of patriarchal oppression, "Stree" holds a mirror up to modern society's normalisation of harassment and objectification of women. The films "'Bulbbul' " and ‘Stree’ seamlessly blend hair-raising horror elements with poignant Feminist  social commentary, using supernatural forces and creatures as powerful metaphors for the systemic marginalisation and subjugation of women in patriarchal societies. The Female protagonists' transformations into mythical, supernatural beings like "chudails" and "strees" serve as symbolic embodiments of the suppressed voices, experiences, and primal rage of countless real women shackled by the oppressive weight of misogyny.Rather than simply being frivolous supernatural thrillers, these films provoke profound discussions that cut to the core of deeply entrenched gender norms, patriarchal control over Female sexuality and bodily autonomy, and the insidious psychological toll of abuse and oppression on women's mental health and psyches. They entertain and captivate, but also act as sobering wake-up calls about the tangible human costs of dismissing and disempowering half of humanity.A paramount theme that rings out powerfully in both these films is the severe psychological impacts of harassment, domestic violence, and systemic oppression that women are subjected to across cultures. The trauma inflicted upon the Female protagonists is so immense that it metaphorically manifests as a supernatural, demonic transformation as they embrace their repressed primal selves. This becoming of "chudails" and "strees" symbolises their desperate, internal yearning for cathartic release from the psychological shackles of their subjugation and reclamation of their usurped personal agency.


These metamorphoses into terrifying yet empowered mythical beings are poignant reminders that widespread cultural misogyny and oppression inflict deep, intangible psychological wounds on women's psyches and senses of self-worth. The films beckon viewers to empathise with the desperate need for profound healing, empathy and systemic reformation of the very structures that enable such dehumanising violence and subjugation.      


Moreover, the portrayal of these protagonists as ghostly, demonic entities subverts the ageold narrative tradition of depicting women as helpless victims of supernatural forces. Instead, "'Bulbbul' " and ‘Stree’ flip this trope on its head - the women themselves metaphysically become the powerful, terrifying forces that reflect the primal need of the oppressed to liberate themselves from the shackles of marginalisation. This symbolic transformation is a defiant repudiation of the entrenched societal attitudes that strip women of their agency, bodily autonomy, and humanity itself. The films jolt viewers into confronting their own preconceived, unconscious biases about how women are perceived - as objects of fear, mystique and subjugation rather than as fully realised human beings deserving of dignity and equality.At their core, 'Bulbbul'  and ‘Stree Reclaim the narratives about womanhood from the clutches of misogyny and patriarchal control. Through brilliant storytelling alchemy, they empower the historically oppressed by allowing the wronged women to metaphorically become the horrific, avenging supernatural spectres that patriarchal societies have long irrationally feared.By placing the "chudails" and "strees" as the protagonists rather than as evil forces to be vanquished by male "heroes", these movies challenge audiences to reflect deeply on their own conscious and unconscious biases regarding representations of women. Are we unconsciously coached from birth to instinctively perceive women - especially those embracing their power - as threats to the status quo that need to be suppressed and feared?   


The films leverages supernatural metaphors and imagery to hold a mirror up to these deep-seated societal prejudices, shaking viewers out of preconceived notions about womanhood, Female agency and sexuality that have been shaped by centuries of patriarchal norms and oppressive cultural mythologies.  They goad us into examining the very root causes of misogyny, rather than dismissing them as just creative story flourishes.


In essence, ‘Bulbbul'  and ‘Stree’- pierce through the veil of supernatural horror entertainment to expose the ugly realities of rampant sexual violence, dehumanization, and psychological trauma experienced by women worldwide when cultures disempower, subjugate and objectify them. By compelling audiences to empathise with the oppressed protagonists and witness their metaphysical metamorphoses into fearsome entities, these films make a powerful clarion call to reevaluate societal norms and rally behind substantive efforts to empower and protect women's physical, mental and emotional well-being.


One of the most compelling and powerful aspects of analysing films like 'Bulbbul'  and ‘Stree’ through a Feminist  lens is the way it allows us to unravel the complex interplay between societal norms, how women are represented in films/media, and the actual lived realities of women across the world. By carefully examining and interpreting the nuanced narratives, metaphors, and symbolic representations in these films, we can shed light on the multifaceted issues and challenges women face - issues like harassment, child marriage, oppression of Female sexuality, domestic violence, and the severe psychological toll this systemic oppression takes on women's mental health and wellbeing.Diving deep into how these films metaphorically depict women as supernatural entities or hapless victims can help expose the deeper, underlying societal forces and prejudices that perpetuate the marginalisation, objectification and disempowerment of women across cultures. This analysis challenges long-held societal biases and preconceived notions about women - their roles, their autonomy, their bodily rights. It encourages audiences to re-examine their own perceptions of women and re-evaluate their lived experiences through a more empathetic, enlightened lens. 


Crucially, it provokes critical thinking about the very societal structures, traditions and regressive norms that systematically oppress and subjugate women.Moreover, undertaking this exploration and analysis is an important step towards amplifying real women's voices, stories and perspectives - which remain marginalised and suppressed in most societies. It contributes to the vital, ongoing societal discourse around gender equality and true empowerment of women from all walks of life. By delving into how these potent films explore the psychological toll of systemic oppression, and simultaneously highlight women's resilience in reclaiming autonomy over their narratives, this research inspires meaningful dialogue that can catalyse positive social change.It sheds much-needed light on the importance of addressing mental health issues arising from trauma, harassment and violence that countless women endure in patriarchal cultures. It underscores the urgent imperative of establishing robust support systems and accessible resources for the psychological wellbeing of women and girls.


 At the same time, it celebrates women's innate strengths - their ability to heal, to rise up, to assert their identities and write their own stories when societal forces continually attempt to silence and subjugate them.One of the profound and powerful aspects of this exploration is its incredible reach and relevance that transcends the boundaries of just cinema critique or academic Feminism discourse. Through nuanced analysis of multifaceted films like "'Bulbbul' " and "Stree," this endeavour illuminates the complex ways in which entrenched societal norms, cultural narratives about women (portrayed through films/media), and the grim realities of women's lived experiences are all inextricably intertwined. It paves the way for a more inclusive, empowering and equitable future for all women by bringing these intersections to light.By meticulously unpacking and interpreting the symbolic and metaphorical layers imbued within these films, the research yields deeper insights into the powerful societal forces that shape women's experiences across cultures over centuries. It inspires critical thinking around


How popular culture and media both reflects and perpetuates these oppressive dynamics. Consequently, it fosters discourse on how concerted storytelling and conscious representation in films/media can actively challenge regressive narratives and supplant them with uplifting, empowered portrayals that celebrate women's agency, resilience and humanity.Furthermore, this expansive exploration acts as a catalyst for catalysing a broader societal commitment to create a more just, equitable and safe world for women and girls from all backgrounds. By poignantly illuminating their lived experiences of oppression and subjugation through the lens of evocative horror films, it rallies people across divides to intimately empathise with that fundamental, universal human yearning for autonomy over one's destiny and liberation from dehumanising systems of oppression.In essence, this nuanced exploration of horror films through a Feminist  lens serves as a potent catalyst for initiating vital conversations that disrupt and challenge deeply entrenched societal norms, prejudices and biases that relentlessly subjugate women worldwide. Its ripple effects transcend the world of academic Feminism to permeate throughout communities, fostering greater consciousness about gender representations and galvanising collective action to secure more equitable realities for women and girls. It equips humanity with the tools to deconstruct oppressive tropes and reclaim the narratives celebrating true Female empowerment, autonomy and humanity


This analysis of Feminist  themes and representations in films like 'Bulbbul'  and ‘Stree’ has immense potential to positively inform and enrich the creative work of filmmakers, writers, authors and artists across mediums. By providing a nuanced understanding of the symbolic significance and deeper societal impacts of how certain tropes, metaphors and Female characters are portrayed, this research can empower creators to craft richer, more thought-provoking narratives that resonate powerfully with audiences.


For example, an in-depth study of how "'Bulbbul' " used the "chudail" folklore metaphor to depict a woman reclaiming her agency from systemic oppression can inspire other writers to devise similarly evocative cultural symbolism while telling diverse stories uplifting the Feminist  consciousness. Unpacking the symbolic subversion of the "demonic woman" trope allows creators to understand what worked in connecting with audiences, while avoiding objectifying or regressive representations.This empowers artists to push creative boundaries and advance more transgressive narratives that challenge oppressive societal systems and traditional power dynamics, while centering and amplifying marginalised voices. Analysing what made "Stree's" satirical approach to confronting harassment so impactful can inform writers/directors on crafting more cutting-edge Feminist  social commentary pieces that promote progressivism through the performing arts.Moreover, this nuanced exploration makes invaluable contributions to the field of mental health advocacy - particularly for women and girls. By delving into how 'Bulbbul'  and ‘Stree’ used supernatural metaphors to depict the desperate psychological need for liberation from trauma caused by systemic oppression and gender violence, the analysis sheds harsh light on urgent realities too often ignored.


It elevates societal awareness about the severe, crippling psychological and emotional tolls of misogyny, patriarchal oppression, sexual harassment, domestic abuse and restrictive gender norms imposed on women across cultures and socioeconomic strata. The analysis explicitly depicts - through symbolic subtext - how such systemic traumas frequently manifest as depression, PTSD, anxiety, eating disorders and other mental illnesses disproportionately burdening women globally.  By making these metaphorical connections brazenly evident through a Feminist  examination of powerful visual narratives, the research sounds an impassioned clarion call for establishing more accessible, culturally-sensitive and gender-inclusive mental health support systems, resources and public policies to address the unique psychosocial challenges and injustices faced by women resulting from entrenched gender inequalities.


Ultimately, the core justification for undertaking this expansive exploration lies in its transformative potential to uproot deeply entrenched patriarchal biases, spark crucial discussions stirring societal consciousness, and inspire tangible reforms in service of a more egalitarian reality for all women & gender-marginalised groups across the world.


Through a meticulous, nuanced analysis of transgressive films like 'Bulbbul'  and ‘Stree’ that defy patriarchal narratives through symbolic representations reclaiming Female power, this research illuminates the complex interplay between pervasive societal norms, how womanhood is portrayed across popular media/culture, and the stark, multi-generational lived realities of systemic oppression that billions of women globally are ubiquitously subjected to.  By shining a harsh light on these often-overlooked intersections of cis-hetero-patriarchal bias perpetuated across societal institutions, media industries and individual consciousness, this study paves the way towards reforming cultural narratives into catalysts for an all-inclusive, equitable and just future where women of all backgrounds can truly thrive - unshackled from oppression, violence and discrimination.


In summation, this compelling exploration of Feminist  narratives in horror films serves as a vital provocation for modern societies to engage in radical, much-needed self-reflection. It wields a profound metaphorical mirror pushing humanity to confront its ugliest demons - the deeply ingrained prejudices that systematically subjugate half of its population. 


By examining symbolic portrayals of Female defiance against misogyny through a critical Feminist  lens, this analysis emboldens all of us to collectively exorcise those regressive societal dogmas and birth an era of true equity and empowerment for all women & gender minorities. It catalyses audiences and creators alike to collaborate on scripting revolutionary new cultural narratives amplifying the universal ideals of justice, dignity and self-actualization for every human being across all intersectional identities.

Bibliography


Primary Resources 


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Kaushik, Amar, et al., directors. Stree. Jio Studios Maddock Films D2R Films, 2018.


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Amiya Dev, "Comparative Literature in India." Assigment paper 208


Name : Upasna Goswami

Roll  no. 20

Enrollment No. 4069206420220012

Sem : 4

Paper Name :Comparative Literature & Translation Studies

Paper no.  : 209

Paper Code : 22415

Submitted to : S. B. Gardi Department of English,M.K.B.U

Email : goswamiupasna339@gmail.com



 Introduction 





Comparative approaches to Indian literature must grapple with the complex hierarchies and diversity within Indian society itself. The long-standing caste system, with its rigid divisions of Brahmin priests, Kshatriya warriors, Vaishya tradesmen, and Shudra servants, has created myriad subcultures, each with their own literary traditions and forms. This caste hierarchy has also shaped hierarchies within literature itself, privileging certain "mainstream" or Sanskritized works over those from rural, regional, Dalit, and tribal communities. 


Adding further complexity are the multiple religions, languages, and folk traditions that span the Indian subcontinent. With 24 constitutionally recognized languages and hundreds more spoken tongues, India cannot be seen as a true melting pot nor a monolingual culture. The 5% English-educated elite have dominated literary production and scholarship, often promoting an Anglicized and upper-caste view of what constitutes authentic "Indian" literature.


Attempts at comparative study have historically been marred by this casteist, Orientalist bias that disregards indigenous folk cultures in favor of elite Sanskrit traditions. However, some threads of a "home-grown" comparative approach can be found in medieval saint-poets like Namdeo who blended influences across caste and regional lines. The author argues that such culturally-grounded, intersectional comparisons are needed to develop a democratic understanding of Indian literature beyondthe Brahminical monopoly. Overcoming lingering colonial perspectives is crucial for more equitable, transcultural literary studies. (Tötösy de Zepetnek and Mukherjee )


The study of literature and literary traditions in India has been profoundly shaped by the nation's staggering linguistic and cultural pluralities. With over 20 officially recognized major literary streams spanning hundreds of spoken tongues, fundamental questions have arisen about whether the concept of a unified "Indian literature" is valid or whether these traditions must be understood as distinct "Indian literatures." This conundrum regarding unity and diversity has sparked robust scholarly debates that lie at the heart of developing an authentic discipline of comparative Indian literary studies.


In this essay, I will examine the key perspectives and fault lines within this debate, drawing primarily from the insightful analysis of scholar Amiya Dev. I will then outline Dev's critiques of earlier approaches and his proposals for an indigenous, "home-grown" model of comparative literary research in India - one that moves beyond rigid binaries to fruitfully engage the complex interliterary processes unfolding across the nation's plural traditions. Ultimately, I will argue that Dev's pluralistic yet coherent framework holds great promise for revitalizing Indian literary studies in a manner rooted in the civilizational dynamics of the subcontinent.




The future of comparative literature and comparative cultural studies in India


1. Greater institutional presence and growth: While centers and departments for comparative literature have been established at several major universities across India since the 1950s, the field is still expanding with new programs being created.


2. Emphasis on "home-grown" theory: There is a need for comparative frameworks and theoretical models rooted in India's diverse cultural traditions, castes, religions, and indigenous knowledges - moving beyond just applying Western theory. Concepts like an "encyclopedia of Indian comparative poetics" drawing from varied caste practices are proposed.


3. Interdisciplinarity and cultural literacy: Emerging technologies demand a new cultural literacy attentive to interdisciplinary politics of internationalization. Comparative humanities must engage resistant aesthetics across different cultural communities.


4. Transcultural intertextuality: Indian scholarship should explore the impacts and influences of Indian culture/literature globally, theorizing transcultural relations beyond just looking at Western influences in India.


5. Confronting caste hierarchies: This new comparativism would analyze how literary caste politics operate from the personal to global levels, de-centering elite narratives and exposing the "comprador intelligentsia."


6. Methodological reorganization: Ultimately, the author calls for reorganizing Indian scholarship into "home-grown" theory construction and application based on India's rich cultural history - a path towards a revitalized, non-national study of culture and literature independent of Western epistemologies.


In essence, the future envisions a robustly comparative yet grounded, interdisciplinary, and critical approach that dismantles persisting colonial/casteist biases in Indian literary studies. (Tötösy de Zepetnek and Mukherjee)



The Unity vs. Diversity Debate


The contrasting stances on whether Indian literary output across languages and cultures constitutes a unified whole or a cluster of separate entities can be traced back to the colonial period and the perspectives of early Western scholars. Those working in the "Indological" tradition of Oriental studies viewed Indian literary production primarily through the narrow prism of classical Sanskrit texts. This myopic approach failed to account for the vibrant diversity of India's multilingual literary ecosystems that emerged across the subcontinent over centuries. 


The reductive, homogenizing lens of the Orientalist scholars, who privileged the elite Sanskrit tradition as the solitary representative of Indian literature, effectively rendered invisible the rich pluralities of textual and performative literary streams that had taken root in the various regional languages and vernacular cultures. From Tamil and Malayalam in the south to Bengali and Assamese in the east, these scholars systematically ignored or marginalized the corpus of literary works in languages like Kannada, Marathi, Gujarati, Oriya and others.


This derived from both the inherent civilizational biases of the European Indologists as well as the convenient expediency of equating "Indian literature" with just the unified canon of Sanskrit to serve the project of crafting a cohesive object of study. However, such a blinkered perspective clearly failed to capture the polyphonic realities of literary production across the Indian subcontinent over millennia.


It was this problematic colonial legacy that prompted the first generation of Indian scholars and literary critics after independence to fundamentally diverge into opposing camps on this question. On one side were those who still argued for the essential overarching unity, connectivity and shared genesis of Indian literature across all the linguistic streams, seeing them as offshoots of a common civilizational trunk rooted in Sanskrit cosmology.


On the opposing side were the critics and writers who insisted on recognizing the distinct literary traditions across languages as separate, sovereign entities deserving of individuated study in their own right. They rejected the lingering biases of the colonial epistemology that rendered their respective linguistic literary canons invisible or subordinated them under an artificial, externally-imposed "Indian literature" construction.


This core ideological schism regarding the fundamental unity or plurality of Indian literary traditions set the tenor for impassioned debates among scholars, critics and writers in the decades after independence. It also framed the conversation around the nascent discipline of comparative Indian literary studies that was just finding institutional footing during this period across the country's universities.


In the postcolonial era, poststructuralist thinkers have subjected both poles of this unity/diversity binary to rigorous critique. Scholars like Gurbhagat Singh have vehemently resisted any singular, overarching construction of "Indian literature" out of "hegemonic apprehensions" - the fear that such a move would inevitably privilege and be equated with one dominant linguistic/cultural group's narrative at the expense of all others. Singh instead proposes the notion of a "differential multilogue" that maintains and celebrates the radical differences between India's myriad literary cultures without attempting to impose any unitary framework.


However, Dev argues that both the homogenizing "unity" stance and the atomized "plurality" position pose distinct problems in adequately capturing the intricate relationship between commonalities and specificities across India's literary landscapes. The unitary view, he contends, risks flattening and subsuming vital particularities under a singular majoritarian force. Yet the absolutist plural position also overlooks some deeper cultural commonalities, overarching aesthetic codes, and ideological affinities that have historically cut across the surface diversity of traditions. Moreover, Dev critiques how both sides of the debate have tended to veer into abstract theoretical terrains rather than grounding their enquiries in keenly observed realities and applications.


Aijaz Ahmad's Influential Critique 


Dev substantially builds his arguments on the influential and trenchant critique advanced by the eminent Marxist literary theorist Aijaz Ahmad regarding contemporary attempts to construct a homogenized "Indian literature" canon or curriculum. In his seminal work In Theory, Ahmad unpacks how such pedagogical proposals and institutional drives, whether pushed by scholars or government bodies, are inherently riddled with problems.


Ahmad contends that these modern-day efforts to develop an aggregated, unified constellation of literary texts deemed representative of an essentialized "Indian literature" still inescapably derive from and perpetuate the majoritarian language politics and hegemonies that arose under the colonial context. Whether manifesting through a push for English translation anthologies or compilations in other dominant languages like Hindi, such synthetic models remain marred by the hierarchical dynamics they inherited.


For Ahmad, these contrived, ahistorical constructs of an "Indian literature" fundamentally lack legitimacy as they neglect and occlude the authentically distinct literary histories, epistemologies, knowledge archives and textual genealogies that have separately and distinctively unfolded over centuries across the different linguistic traditions of the subcontinent. By flattening this rich diversity and subsuming it under a unitary, exogenous category, Ahmad argues that such projects effectively enact an epistemological erasure of the varied literary cosmologies and unique narrative trajectories of cultural-linguistic communities like Tamil, Bengali, Marathi, Gujarati and others.


Moreover, he takes issue with the facile analogies often employed to legitimize these "Indian literature" models, which seek to unconvincingly equate them with more organically developed, pluralistic concepts like that of "European literature." Ahmad counters that while the notion of a "European literature" operates as a reasonably open-ended pedagogical umbrella precisely due to its accommodation of distinct, sovereign literary streams, the drive to construct an overarching "Indian literature" is a more pernicious project anchored to explicit nation-building and cultural hegemony agendas.


Whereas "European literature" evolved as a supple framework to comparatively study the literary traditions across that continent without subsuming them into a artificial monolith, the "Indian literature" push, according to Ahmad, stems from a deeply problematic politics of flattening India's immense civilizational diversity into a singular national-cultural identity and assertion. This inherently privileges certain dominant linguistic traditions while invisibilizing or diminishing the plural literary cosmologies that emerged from myriad histories, knowledge systems and lived realities across the subcontinent.


By unpacking these concerns, Ahmad provides a forceful rejoinder to the uncritical, hollow universalizing impulses that often animate such "Indian literature" model-building, highlighting how they inevitably ignore and undermine the very essence of India's vibrant literary cosmologies - their self-arisen pluralities across linguistic cultures that exceed any reductive, monolithic framing. His critique serves as a vital counter-narrative to such homogenizing narratives.


Ahmad also takes issue with specious analogies that equate these contemporary "Indian literature" constructs with more organically developed concepts like "European literature." While the notion of a plural "European literature" operates as a reasonably open-ended pedagogical umbrella, he argues that the push for forging an overarching "Indian literature" stems from a deeply problematic










Works Cited

Dasgupta, Subha Chakraborty. “Comparative Literature in India: An Overview of its History.” Comparative Literature & World Literature, 4 July 2016, http://www.cwliterature.org/uploadfile/2016/0711/20160711020042997.pdf. Accessed 24 April 2024.

Dev, Amiya. “Comparative Literature in India.” Purdue e-Pubs, https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1093&context=clcweb. Accessed 24 April 2024.

Dev, Amiya. “Comparative Literature in India - Amiya Dev.” ResearchGate, https://www.researchgate.net/publication/27239965_Comparative_Literature_in_India. Accessed 24 April 2024.

Dev, Amiya. “"Comparative Literature in India" by Amiya Dev.” Purdue e-Pubs, https://docs.lib.purdue.edu/clcweb/vol2/iss4/10/. Accessed 24 April 2024.

Mirza, S. M. “Sisir Kumar Das : ‘Comparative Literature in India: A Historical Approach.’” Wikipedia, http://udrc.lkouniv.ac.in/Content/DepartmentContent/SM_92d0eb89-61ef-40fd-b039-4c8ba253a9e6_6.pdf. Accessed 24 April 2024.

Tötösy de Zepetnek, Steven, and Tutun Mukherjee. Companion to Comparative Literature, World Literature, and Comparative Cultural Studies. Edited by Steven Tötösy de Zepetnek and Tutun Mukherjee, Foundation Books, 2013. Accessed 24 April 2024.

Varghese, Abhishek. “Comparative Literature in India - Delhi Comparatists.” Delhi Comparatists, 2021, https://delhicomparatists.org/research-forums/comparative-literature-in-india/. Accessed 24 April 2024.


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