839 research outputs found
Representations of migrant and nation in selected works of Rohinton Mistry and Salman Rushdie
No full textThis thesis explores the representations of, and the relationship between. the migrant and the nation in selected works of the Bombay-born novelists Rohinton Mistry and Salman Rushdie. I explore each writer's engagement with contemporary debates surrounding the material, political, social and imaginative consequences of the crisis in secularism in India during the 1970s, 1980s and 1990s, and consider how this engagement is informed by their
migrant positions beyond India's borders. A primary concern is the way in which Mistry's and Rushdie's representations of the nation, and of migrant and diasporic subjects, intersects with the representation of Bombay in their work.
This thesis is divided into five chapters. The first two chapters concentrate on Mistry's fiction, the remaining three on Rushdie's work. Published between 1988 and 2002, the central novels examined are situated within debates regarding the founding principles of the Indian nation, and notions of Indianness, the rise of communalism in general and Hindu nationalism in particular, and the renaming of Bombay as Mumbai. My readings foreground the necessity of a
close understanding of the historical and political transformations taking place within Bombay and India during the 1970s, 1980s and 1990s, but also during the 1950s and 1960s. I argue that Mistry's and Rushdie's work is informed by a deepening anxiety over these socio-political transformations, and over how reconfigurations of Indianness increasingly position minority communities, and migrant and diasporic subjects, outside of definitions of national identity.
This anxiety extends into the negotiation of their own migrant positions. My reading of the differing representations of the migrant in Mistry's and Rushdie's work engages with ideas of accountability, political responsibility, and with notions of cosmopolitanism. In doing so, I question familiar assumptions regarding the migrant condition as one of predominantly empowering political agency. I argue that, while both authors emphasise the importance of the migrant sustaining a critical engagement with India's politics, they also foreground the anxious difficulties of doing so. This difficulty informs Mistry's and Rushdie's divergent negotiation of their own position as migrant writers, and I examine how their fiction is marked by an anxiety over the adequacy of writing as a mode of political engagement with the crisis in secularism and the parochialisation of Bombay, and as a means of negotiating the politics of migrancy
Wristwatch presented to John Glenn by Isa Bin Salman Al Khalifa, the Amir of Bahrain
No full textGold Riviera model wristwatch made by Baume & Mercier of Geneva, Switzerland, presented to John Glenn in 1991 by Isa Bin Salman Al Khalifa, the Amir of Bahrain.Credit: John Glenn Archives, The Ohio State University
The translation of identity in the satanic verses: a love song to our mongrel selves
No full textThis thesis examines the translation of character identities within Salman Rushdie's novel, The Satanic Verses, and seeks to demonstrate how the dynamics of translating a text can be used as a model for discussing the transformations of characters within the book. Rushdie uses the term "translation" as a metaphor for the migrant experience of uprootedness that is a result of being "borne across" from one culture to another. From it, however, can be derived a metaphor for the universal experience of alienation that is a part of our shared humanity, and which describes the process of responding to a sense of "otherness" within ourselves and within a pluralistic culture. The framework which will be used to examine characters within The Satanic Verses responding to such conditions is George Steiner's translation hermeneutic outlined and discussed In his book. After Babel: Aspects of Language and Translation. The Introduction will set the context for the use of the term "translation”. Chapter One will discuss Steiner's position within translation theory and Rushdie's affinity to it as well as explain the basic translation model. Chapters Two through Five will look closely at Rushdie's text, analyzing the two protagonists, Gibreel and Saladin, as they undergo, or fail to undergo, the translation process. Finally, the conclusion will suggest that the Rushdie affair engendered by this novel is, ironically, a linguistic debate provoked by a text that urges its readers to be translated. By making its readers acutely aware of what is "other" to them, the The Satanic Verses proposes and attempts to answer a single, profoundly religious, question: "How are we to live in the world?
Salman Rushdie in the Cultural Marketplace
No full textTaking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie’s work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie’s work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.info:eu-repo/semantics/publishedVersio
Salman Rushdie in the Cultural Marketplace
No full textTaking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie’s work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie’s work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.info:eu-repo/semantics/publishedVersio
Salman Rushdie in the Cultural Marketplace
No full textTaking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie’s work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie’s work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.info:eu-repo/semantics/publishedVersio
Trends. Salman Rushdie and Taslima Nasrin: Terrorists?
No full textThe author discusses fatwas that have been issued against United Kingdom\u27s Salman Rushdie and Bangladesh\u27s Taslima Nasrin
Salman Rushdie’s ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High-Masala-Art,’ or Considerations on Undisciplining Boundaries
No full textIn Salman Rushdie’s work, pictures are invested with the power to manipulate the plotline, to stipulate actions from the characters, to have sway over them, enchant or even haunt them. References to the visual – notably, film, TV, comic books, photography, and painting – crowd Rushdie’s writing. Several of his characters are directly connected to the realm of visuality and portrayed as availing themselves of the power of visual representation or as submitting to the pictures others make of them. In his writing, with its wealth of pictures, the visual is hence a site where meaning is constructed and struggles over representation are staged. In attempting to shed light on a largely unexplored, even if central, dimension of the narrative project of a major contemporary author – the extensive interplay between what might be termed, for the sake of brevity, ‘the visible’ and ‘the readable’ –, this collection focuses on ‘pictures’ instead of ‘images’ to encapsulate the complex ways in which the visual is here transcribed into the printed word, and the different levels at which that occurs. This means exploring not only the visual quality or effect that Rushdie strives for in his texts, but also the influence of the visual on the author and the multifarious ways the visual is apprehended and represented in the body of his work.info:eu-repo/semantics/publishedVersio
Salman Rushdie’s ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High-Masala-Art,’ or Considerations on Undisciplining Boundaries
No full textIn Salman Rushdie’s work, pictures are invested with the power to manipulate the plotline, to stipulate actions from the characters, to have sway over them, enchant or even haunt them. References to the visual – notably, film, TV, comic books, photography, and painting – crowd Rushdie’s writing. Several of his characters are directly connected to the realm of visuality and portrayed as availing themselves of the power of visual representation or as submitting to the pictures others make of them. In his writing, with its wealth of pictures, the visual is hence a site where meaning is constructed and struggles over representation are staged. In attempting to shed light on a largely unexplored, even if central, dimension of the narrative project of a major contemporary author – the extensive interplay between what might be termed, for the sake of brevity, ‘the visible’ and ‘the readable’ –, this collection focuses on ‘pictures’ instead of ‘images’ to encapsulate the complex ways in which the visual is here transcribed into the printed word, and the different levels at which that occurs. This means exploring not only the visual quality or effect that Rushdie strives for in his texts, but also the influence of the visual on the author and the multifarious ways the visual is apprehended and represented in the body of his work.info:eu-repo/semantics/publishedVersio
A data approximation based approach to photovoltaic systems maintenance
No full textSalman, Ayşe (Dogus Author) -- Conference full title: 2013 IEEE Workshop on Environmental Energy and Structural Monitoring Systems (EESMS) 11-12 Sept. 2013, University of Trento, Trento, ItalyThe solar panel, which transforms the energy carried by the light in electricity, is a reliable component of a photovoltaic (PV) system, but its efficiency depends on several factors, such as its orientation, its working temperature, and its tidiness. Since maintenance is an expensive activity, a careful evaluation of the degradation of the panel and the resulting production loss has to be carried out. Besides, an accurate estimation of the potential production with respect to the weather condition requires expensive instruments and skilled operators. In this paper, we propose an alternative approach based on the prediction of the potential production based on a public weather station in the nearby of the considered plant. Several computational intelligence paradigms as well as several prediction setups are here challenged and compared
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