9,036 research outputs found
Ananda Devi – pisarka skrzyżowania kultur
No full textAnanda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits.Ananda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits
Arcithelphusa Pati & Sudha Devi 2015
No full textArcithelphusa Pati & Sudha Devi, 2015 (Figs. 2 A–F, 3B, C, D, E–K, N–P, 4A–F) Arcithelphusa Pati & Sudha Devi 2015a: 35; Pati et al. 2017: 1297 (list); Rajesh et al. 2017: 134 (list); Pati & Thackeray 2018: 10 (list). Type species. Arcithelphusa cochleariformis Pati & Sudha Devi, 2015, by original designation; gender feminine. Diagnosis [emended from Pati & Sudha Devi (2015a)]. Carapace ovate, broader than long (cw/cl = 1.2–1.4), relatively deep (ch/cw = 0.6–0.7); dorsal surface arched, almost smooth; anterolateral margin lacking distinct serrations; front strongly deflexed, with narrow frontal margin (fw/cw = 0.25); epigastric cristae only visible as 2 low, broad, oval protuberances; postorbital cristae indistinct; external orbital angle indistinct; epibranchial tooth indistinct; branchial regions highly inflated; cervical grooves relatively shallow, not reaching beyond level of postorbital cristae; frontal median triangle incomplete, lateral margins indiscernible; epistome posterior margin with triangular median lobe and sinuous lateral lobes (Figs. 2A, B, D, E, 4A, B, D, E). Third maxilliped exopod longer than ischium, lacking flagellum or with relatively short flagellum, ca. 0.5× width of merus (Fig. 3B, N). Chelipeds relatively smooth (Figs. 2 A–F, 4A–F). Ambulatory legs slender, long (Figs. 2 A–F, 4A–F). Suture between male thoracic sternites s2/s3 shallow or deep, broad, not reaching edge of sternum; suture between male thoracic sternites s3/s4 deep, broad, reaching edge of sternum (Figs. 2C, F, 3C, 4C). Pleonal locking mechanism with low, anteriorly directed tubercles on each antero-submedial part of sternite 5 (Fig. 3I). Male sternopleonal cavity long, reaching imaginary line joining medial part of cheliped coxae (Figs. 2C, F, 4C). Male pleon narrowly triangular, with concave lateral margins; pleonal somite 6 trapezoidal, broader than long, with gently convex lateral margins (Figs. 2C, F, 3D, 4C). Male telson narrow, with strongly concave lateral margins; apex rounded (Figs. 2C, F, 3D, 4C). G1 relatively stout, with large flexible zone, tip not reaching pleonal locking structure; terminal segment relatively short, ca. 0.3–0.4× length of subterminal segment, medial portion distinctly curved outwards, dorsal flap absent or low, broad; subterminal segment relatively stout, with strongly convex outer margin at basal half (Fig. 3 E–G, I, J, O). G2 short, ca. 0.6–0.7× length of G1; distal segment very short, ca. 0.2× length of basal segment (Fig. 3H, K, P). Remarks. Among the Indian genera of gecarcinucid crabs, Arcithelphusa is most close to Cylindrotelphusa in carapace morphology and gonopod structures (see Pati & Sudha Devi 2015a; Pati et al. 2017). Both the genera can be distinguished from other Indian gecarcinucid genera mainly by the presence of a relatively deep carapace (ch/cw = 0.5–0.7), a narrow frontal margin (ca. 0.25 times the carapace width), an incomplete frontal median triangle, and a short G2 distal segment (ca. 0.2–0.3 times the length of the basal segment) (Figs. 2B, E, 3H, K, P, 4B, E; see Bahir & Yeo 2007: figs. 4D, 5B; Pati et al. 2017: figs. 11b, 12d, 13b, 14d). Other major characters common to both are their strongly convex dorsal surface, the highly inflated branchial regions, the prominent and triangular median lobe on the epistome posterior margin, a narrowly triangular male pleon, and a short G2 (Figs. 2 A–F, 3D, E, H, J, K, O, P, 4A–E; see Bahir & Yeo 2007: figs. 4A, D, 5A–C; Pati et al. 2017: figs. 11a–c, h, 12a, d, 13a–c, h, 14a, d). While they share many features of the carapace and gonopods, the flagellum on the exopod of the third maxilliped shows considerable variations. The flagellum on the third maxilliped exopod is altogether absent in A. cochleariformis (Fig. 3N) whereas it is distinct but short in A. tumpikkai sp. nov., reaching nearly half the merus width (Fig. 3B). On the other hand, all the species of Cylindrotelphusa have a well-developed and relatively long flagellum on the third maxilliped exopod, which reaches up to 0.6–0.7 times the merus width (see Pati et al. 2017: figs. 11i, 13i). The variations in the length of the flagellum on the third maxilliped exopod could be associated with the ecological requirements of each species of Arcithelphusa and Cylindrotelphusa. According to Cumberlidge (1999), the presence of a long flagellum on the third maxilliped exopod of a crab is a plesiomorphic state, and the absence of the said flagellum is an apomorphic state, which is common in air-breathing crabs and mostly associated with the adaptations of the respiratory system by the relatively terrestrial species of freshwater crabs (see Ng & Shokita 1995). Cumberlidge (1999) also noted that this character is useful to distinguish some genera of the West African crabs. The presence or absence of a flagellum on the third maxilliped exopod, however, is not a reliable character to exclusively define Arcithelphusa and Cylindrotelphusa because the condition of the flagellum varies considerably among their species depending upon the habitat preferences. Huang (2018) recently found that some crab genera are strikingly similar in external morphology, and the use of the G1 characters alone could be problematic to define them. In these situations, he suggested using a combination of characters that are apparently under less environmental selective pressure, such as male pleon, G1, and female vulvae. Furthermore, a molecular study has now become necessary to support morphological data (see Shih et al. 2016; Huang 2018). Currently, no molecular data is available for Arcithelphusa and Cylindrotelphusa, and the female vulvae were not described for all the species. Their male pleon is quite similar in morphology. On the contrary, the G1 structure is a reliable character to set them apart. While the generic treatment of Arcithelphusa needs investigation based on morphological and molecular data, we still continue to recognize the genus and provide here an emended diagnosis to accommodate both A. cochleariformis and A. tumpikkai sp. nov. Arcithelphusa can be now distinguished from Cylindrotelphusa by the following suite of characters: the anterolateral margins of the carapace lack distinct serrations (Figs. 2A, D, 4A, D) (vs. with distinct serrations; see Bahir & Yeo 2007: fig. 5A; Pati et al. 2017: figs. 11a, 13a); the third maxilliped exopod lacks a flagellum (Fig. 3N) or with a short flagellum that reaches half the merus width (Fig. 3B) (vs. with a well-developed flagellum that reaches beyond half the merus width; see Pati et al. 2017: figs. 11i, 13i); the chelipeds are relatively smooth (Figs. 2 A–F, 4A–F) (vs. rugose; see Bahir & Yeo 2007: fig. 5A–C; Pati et al. 2017: figs. 11a, c, d, 13a, c, d); the G1 is relatively stout with a large flexible zone (Fig. 3 E–G, J, O) (vs. relatively slender with a reduced flexible zone; see Bahir & Yeo 2007: fig. 4A–C; Pati et al. 2017: figs. 12a–c, 14a–c); the G1 terminal segment is relatively short, ca. 0.3–0.4 times the length of the subterminal segment (Fig. 3E, J, O) (vs. relatively long, ca. 0.4–0.6 times the length of the subterminal segment; see Bahir & Yeo 2007: fig. 4A; Pati et al. 2017: figs. 12a, 14a); the G1 subterminal segment is relatively stout, with a strongly convex outer margin at the basal half (Fig. 3E, F, J, O) (vs. relatively slender, with a straight to gently convex outer margin at the basal half; see Bahir & Yeo 2007: fig. 4A, B; Pati et al. 2017: figs. 12a, c, 14a, c). Distribution. The genus is endemic to the Western Ghats of India and known only from Wayanad district of Kerala (Fig. 1).Published as part of Pati, S. K., Sujila, P. S. & Devi, A. R. Sudha, 2019, Description of a new species of freshwater crab of the genus Arcithelphusa Pati & Sudha Devi, 2015 (Decapoda: Brachyura: Gecarcinucidae) from the Western Ghats, Kerala, India, pp. 203-214 in Zootaxa 4674 (2) on pages 205-207, DOI: 10.11646/zootaxa.4674.2.2, http://zenodo.org/record/345892
Wastewater treatment and reuse: an institutional analysis for Hyderabad, India
No full textRiver basinsWater pollutionSewageEffluentsPollution controlLegislationWaste managementWater qualityGuidelinesWastewater irrigationHealth hazardsRiceGrassesInstitutional reformCase studies
How smallholder farmers adapt to climate change: Stories from India—Susila Devi
No full textSusila Devi is a farmer from Jamnapur in India who talks about the importance of education when adapting to changes in the climate. Due to her education she was able to read up on alternative fodder solutions to feed her animals, since the lack of water reduced the regular fodder options. She was able to get a hold of the information at the local milk centre where she also learned about different types of weeds and the importance to keep the animal area clean. Thanks to the new fodder option that Sisula has been giving to her cows, the milk production has increased as well as the fat content. She is now adamant to give her children a proper and lengthy education
Une interview avec Ananda Devi
No full textAn interview with Ananda Devi, which was conducted by Associate Professor Anna Czarnowus and Dr Marta Mamet-Michalkiewicz in 2019. The author talks about her own multilingualism, the novels where she dicusses violence, including sexual violence, her literary inspirations, the symbolism of her texts, female anger and feminism, the cultural meaning of cooking, and her novel 'The Living Days'.Wywiad z Anandą Devi przeprowadzony przez dr. hab. Annę Czarnowus i dr. Martę Mamet-Michalkiewicz z Uniwersytetu Śląskiego w 2019 roku. W wywiadzie autorka opowiada o swojej wielojęzyczności, powieściach, w których opisuje przemoc, również seksualną, swoich inspiracjach pisarskich, symbolice w swoich tekstach, kobiecym gniewie i feminizmie, kulturowym znaczeniu gotowania oraz powieści 'Les jours vivants'
Ananda Devi: a writer at the crossroads of cultures
No full textAnanda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits
An Interview with Ananda Devi
No full textAn interview with Ananda Devi, which was conducted by Associate Professor Anna Czarnowus and Dr Marta Mamet-Michalkiewicz in 2019. The author talks about her own multilingualism, the novels where she dicusses violence, including sexual violence, her literary inspirations, the symbolism of her texts, female anger and feminism, the cultural meaning of cooking, and her novel \u27The Living Days\u27.Wywiad z Anandą Devi przeprowadzony przez dr. hab. Annę Czarnowus i dr. Martę Mamet-Michalkiewicz z Uniwersytetu Śląskiego w 2019 roku. W wywiadzie autorka opowiada o swojej wielojęzyczności, powieściach, w których opisuje przemoc, również seksualną, swoich inspiracjach pisarskich, symbolice w swoich tekstach, kobiecym gniewie i feminizmie, kulturowym znaczeniu gotowania oraz powieści \u27Les jours vivants\u27
Sitā et ses doubles (mythes et représentations dans les oeuvres d'Ananda Devi)
No full textNotre recherche vise à cerner la quête identitaire de la femme dans les romans d Ananda Devi, auteur mauricien, d origine indienne. D après nos analyses, nous constatons que l individuation féminine se déploie à travers les trois phases suivantes : l identité-idem , l aspect identitaire qui se fonde sur une identification collective ; l identité-ipsé , par opposition à cette quête de similitude, est un élan vers la spécificité personnelle ; et l animus que nous définissons comme la part de différence ou les désirs les plus refoulés qui sont rejetés par les normes sociales. Parallèlement à ces trois phases identitaires, ce qui caractérise l'évolution féminine chez Devi, c est que la femme opprimée, dans son effort d émancipation, s inspire des figures mythiques hindoues. Au cours de notre recherche nous avons exploité les bribes mythiques, afin de mettre en lumière une communion prédominante entre les femmes de Devi et les figures mythiques hindoues : Sitā, Draupadi et Kālī. Or, cette expérience d identification avec les figures mythiques recoupe les trois phases identitaires dans la mesure où la femme s identifie à une figure mythique dans chacune de ces phases d individuations. L accouplement figure mythique et phase identitaire se présente ainsi : Sitā-identité-idem, Draupadi-identité-ipsé, et Kālī-animus.The aim of this research is to study the quest of identity in the women characters in Ananda Devi s novels. Devi is a Mauritian author of Indian origin. Our study reveals that the evolution of the women passes through three major stages : l identité-idem or collective identification, the desire of identifying oneself to a particular group; l identité-ipsé on the contrary is the desire to see oneself as unique within a certain group of individuals; l animus , we define this term as the suppressed desires which are condemned by the society. Along with these three phases of identification, what characterises Devi s women is that in their serge for emancipation they identify themselves with the Hindu mythical figures. In our study we have explored various images in Devi s writings in order to reveal the existing links between Devi s women and the following mythical figures : Sitā, Draupadi, Kālī. In fact, this experience of identification with the mythical figures is closed interlinked with the evolutionary phases defined above. In each of her evolutionary phase the woman identifies to one particular mythical figure : Sitā-identité-idem, Draupadi-identité-ipsé, and Kālī-animus.PARIS13-BU Droit-Lettres (930792101) / SudocSudocFranceF
Différentes sources d’inspiration dans l’oeuvre romanesque d’Ananda Devi
No full textIn the article the author analyses various sources of inspiration noticeable in the works of Ananda Devi. Considering the writer’s background, her native island of Mauritius, a multi-ethnic multi-lingual and multi-cultural island, various cultural inspirations are noticeable in her works. The author of this article focuses on the novelist’s prose and analyses the cultural references rooted in Indian, European, African and Creole cultures. The aim of this analysis is also to describe the intertextual relations that exist between some of Ananda Devi’s texts and the works of Jean-Marie Gustave Le Clézio, Tahar Ben Jelloun, Arthur Rimbaud or Malcolm de Chazal, T. S. Eliot, Toni Morrison and J. M. Coetzee. In the analysis, the author draws on the research of Homi Bhabha and Gérard Genette.In the article the author analyses various sources of inspiration noticeable in the works of Ananda Devi. Considering the writer’s background, her native island of Mauritius, a multi-ethnic multi-lingual and multi-cultural island, various cultural inspirations are noticeable in her works. The author of this article focuses on the novelist’s prose and analyses the cultural references rooted in Indian, European, African and Creole cultures. The aim of this analysis is also to describe the intertextual relations that exist between some of Ananda Devi’s texts and the works of Jean-Marie Gustave Le Clézio, Tahar Ben Jelloun, Arthur Rimbaud or Malcolm de Chazal, T. S. Eliot, Toni Morrison and J. M. Coetzee. In the analysis, the author draws on the research of Homi Bhabha and Gérard Genette
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