Assignment 208: Comparative Studies and Translation Studies

Susan Bassnett's analysis of the Current State of Comparative Literature Studies

What is Comparative Literature Today?

Name: Jheel Barad

Roll No.: 12

Enrollment No.: 4069206420210003

Paper no: 208

Paper code: 22415

Paper name: Comparative Literature and Translation Studies

Sem.: 4 (Batch 2021- 2023)

Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University

[Reading and comprehending original articles by scholars can be a daunting task, and I found it especially challenging while preparing for my exam. To alleviate this stress, I have simplified the article based on my understanding and with the assistance of ChatGPT. I have attempted to present the information in simple and easy-to-understand language. This blog is geared toward exam preparation and aims to provide a clear understanding of the article's core ideas and concepts. However, it's important to note that if you want to gain a deep understanding of the topic, reading the original article is highly recommended. CLICK HERE FOR BLOG I (it has quotes in the language of the original article)]

What is Comparative Literature?

The simplest answer is that comparative literature involves the study of texts across cultures is interdisciplinary and is concerned with patterns of connection in literature across both time and space.

People often come to study comparative literature from different paths. Some want to explore beyond the limits of a single subject, while others are intrigued by the similarities between texts or authors from different cultures. Some may simply follow Matthew Arnold's belief that studying literature comparatively is valuable.

‘Everywhere there is a connection, everywhere there is an illustration, No single event, no single literature is adequately comprehended except in relation to other events, to other literature.'

When we read books, we often encounter references to other authors and works from different cultures. This can lead to a natural curiosity and interest in comparative literature, as we begin to make connections and see how different writers and traditions influence each other. The German writer Goethe believed that poetry was a shared human experience, and encouraged readers to explore literature from different parts of the world. Ultimately, comparative literature is about exploring the connections and resonances between different texts and cultures.

Comparative literature is not just common sense. Despite the ease of access to international literature and translations, the history of the term is marked by debates about its focus and purpose. Critics have questioned what the object of study is, how to define a comparative canon, and whether comparative literature is a field of study or a discipline. These debates have continued from the 19th century to the present day, to what Rene Wellek defined as the ‘crisis of Comparative Literature.’

Comparative literature has been a subject of debate and controversy for over a century. Benedetto Croce, a scholar from 1903, argued that comparative literature was not a separate discipline and that the proper object of study should be literary history. He claimed that the term 'comparative literature' was misleading and that it lacked substance. Other scholars, such as Max Koch, also contributed to the debate. Despite these arguments, comparative literature remains a field of study and continues to generate discussions and debates among scholars.

Charles Mills Gayley saw comparative literature as a study of literature that transcends boundaries such as language, culture, and history, and connects different works of literature through their commonalities as expressions of universal human thought and experience. He believed that despite differences in social conditions, individual perspectives, and other factors, literature reflects the common needs and aspirations of humanity and is shaped by universal psychological and physiological processes. Thus, comparative literature, for Gayley, was a means of understanding literature as a medium that unites all of humanity.

François Jost, in 1974, believed that national literature was limited and proposed that comparative literature represented more than just an academic discipline. He saw it as an overall view of literature, a vision of the cultural universe that is inclusive and comprehensive, and even likened it to a kind of world religion. The idea was that all cultural differences disappear when readers engage with great works and that the comparatist's role was to facilitate the spread of universal harmony through the study of literature.

According to Wellek and Warren, comparatists need special skills and linguistic proficiency, and they should widen their perspectives and suppress local biases. They suggest that Literature is a unified field, and comparatists are like international ambassadors promoting universal harmony through their work. This idealistic vision of literature as a unifying force has recurred in history after major crises, such as World War II.

 Wellek and Warren state that ‘Literature is one; as art and humanity are one’.

The grand vision of comparative literature as a unifying force has not been realized. As different critical approaches gained prominence in the 1960s and 1970s, the focus shifted away from comparing texts to analyzing the role of the reader. This led to the breaking down of the idea of universal values and a single interpretation of literature. In the 1950s and 60s, graduate students in the West saw comparative literature as a radical subject that crossed boundaries, even though it lacked coherent methodology and the debate on its existence persisted. In 1969, Harry Levin urged more practical work and less focus on theory, it was already out of date. By the late 70s, a new generation of students had turned to Literary Theory, Women's Studies, Semiotics, Film and Media Studies, and Cultural Studies as more radical subjects. Comparative Literature was seen as a relic of liberal humanism.

In the West, Comparative Literature lost its appeal to the new generation of students in the late 1970s, who turned to other subjects like Literary Theory, Women's Studies, Semiotics, Film and Media Studies, and Cultural Studies. However, in the rest of the world, particularly in Asia, Comparative Literature gained ground based on the specificity of national literature, which was previously denied by many Western comparatists. Programs in Comparative Literature emerged in China, Taiwan, Japan, and other Asian countries, and 

Swapan Majumdar attributes this to ‘the predilection for National Literature, which was deplored by Anglo-American critics as a methodology. In particular, Comparative Literature has struck roots in Third World nations and India’.

According to Ganesh Devy, comparative literature in India is directly linked to the rise of modern Indian nationalism, as it has been used to assert the national cultural identity. In contrast to the traditional Western approach of starting with Western literature and looking outwards, Indian comparatists scrutinize the West from without. Indian scholars refer to literature derived from Graeco-Roman matrices via Christianity as "western literature," including English, French, German, etc., which they term as "sub-national literature." This alternative perspective brings a revaluation of the discourse of 'national' literature.

The Indian perspective on comparative literature, as articulated by Ganesh Devy and Swapan Majumdar, challenges the Western notion of 'great' and 'minority' literature. Homi Bhabha suggests that post-colonial culture emphasizes productive cross-cutting across social sites, erasing the traditional disciplinary sense of cultural reference and relevance.

In his essay attacking Hegel's Eurocentric views, James Snead points out that Wole Soyinka and a whole range of African critics have exposed the pervasive influence of Hegel's argument that African culture was 'weak' in contrast to what he claimed was higher, more developed cultures. Hegel effectively denied Africa a history, which was a denial of its cultural and intellectual richness. Snead argues that the outstanding fact of late twentieth-century European culture is its ongoing reconciliation with black culture and that it took too long to discern the elements of black culture already present in latent form. The separation between the cultures was not one of nature, but one of force, and it is only now that Europe is recognizing this fact.

Today, the field of comparative literary studies is very diverse and its approach varies depending on the location where it is being studied. Critics from Africa, India, the Caribbean, and other regions have challenged Western literary criticism's tendency to ignore the implications of their literary and cultural policies. Terry Eagleton has argued that literature, in the traditional sense of the word, is an ideology. He discusses how the emergence of English as an academic subject in the nineteenth century had clear political implications. According to Eagleton, the establishment of the subject in universities followed the major social changes that occurred after the First World War.

“English Literature rode to power on the back of wartime nationalism, but it also represented a search for spiritual solutions on the part of the English ruling class whose sense of identity had been profoundly shaken”

Terry Eagleton's explanation for the rise of English as an academic subject tied in with the early comparatists' aspirations for a subject that transcended cultural boundaries through great literature. However, the definition of English literature has evolved and become more complex over time, leading to questions about what should be included in an English syllabus. Similarly, the emergence of alternative schools of thought, such as Edward Said's work on orientalism, has challenged the traditional understanding of comparative literature. Said's idea that "the Orient" was a word with multiple meanings and connotations not necessarily related to the actual region, has led to a rethinking of Western attitudes towards other cultures. Zhang Longxi's essay, "The Myth of the Other: China in the Eyes of the West," further explores this theme, arguing that China has been traditionally seen as the ultimate "other" by the West. These challenges from non-European critics have brought ideology back into the forefront of literary studies.

In the past, a literature syllabus in Europe or North America could focus on established canonical writers. However, in non-European cultures, especially those that were colonized by Western powers, the syllabus must address different issues. For example, Indian students must grapple with Shakespeare not only as a great figure in European literature but also as a representative of colonial values. This conflict between the two Shakespeares can be addressed by studying his work comparatively and examining his impact on Indian cultural life, while also comparing his work with that of Indian writers.

Comparative literature is growing in many parts of the world as a way to explore indigenous and imported traditions. In places like China, Brazil, India, and Africa, it is used constructively to study the impact of national culture by importation. This is different from the crisis and decay of comparative literature in the West, where there is quibbling about the canon and terms to start comparing. Ganesh Devy's argument that comparative literature in India coincides with modern Indian nationalism is important because it reminds us of the origins of the term 'Comparative Literature' in Europe during an age of national struggles and the question of national culture and identity.

Comparative literature, which compares different works of literature, is facing challenges and changes. In the West, there is a crisis with falling student numbers and a lack of consensus on what the subject should be. However, in other parts of the world, especially in the Third World and the Far East, comparative literature is developing and expanding. It is being used to explore questions of national culture and identity. This new comparative literature is also questioning the traditional European canon of great writers and challenging ideas about cultural history that are male-oriented. The post-modernist theory also revalues the role of the reader and exposes the power structures in society. Western readers are engaging with these challenges without using the term "comparative literature", but the ideas they are exploring are similar.

Translation studies is a rapidly growing field in literary studies that has significant implications for the future of comparative literature. It emphasizes the importance of literature as a differentiated and dynamic 'conglomerate of systems' and sees individual literary systems as part of a multi-faceted whole. This changes the terms of debates about 'majority' and 'minority' cultures and 'great' versus 'marginal' literature. Translation studies draw from multiple disciplines and propose that translation is not a marginal activity, but a major shaping force for change in the history of culture.

Translation studies is an area of literary studies that has grown rapidly since the mid-1970s. Scholars such as Toury, Lefevere, Hermans, and Lambert have shown that translation is especially important during times of cultural change, such as when a culture is expanding or in need of renewal. Translation studies see literature as a dynamic 'conglomerate of systems', and translation as a major shaping force for change in the history of culture. This view explains why there was a proliferation of translations into emergent European nations in the early nineteenth century, and why translation into English began to decrease as the British Empire extended its grasp. Translation studies offer a new way of looking at cultural history, taking into account both the implications of socio-historical changes that affect literary production in different cultures and the linguistic structuring of a text as it is transported across language boundaries. Comparative Studies have claimed translation studies as a sub-category, translation studies establish itself as a subject based on intercultural study and offer a methodology of some rigor, while comparative literature appears less like a discipline and more like a branch of something else. Translation studies are undergoing the opposite process to comparative literature, which seems to be losing ground and becoming more nebulous and loosely defined. The time is approaching for comparative literature to rethink its relationship with Translation Studies, just as linguistics had to rethink its relationship with Semiotics.

Therefore, we need to reassess the role of translation studies vis-à-vis comparative literature, and the long, unresolved debate on whether comparative literature is or is not a discipline in its own right could finally be shelved.

Work Cited

Bassnett, Susan, and Susan Bassnett-MacGuire. Comparative Literature: A Critical Introduction. Wiley, 1993. Accessed 28 March 2023.

Assignment 210(A): Research project Writing (Dissertation Writing)

Conclusion of my dissertation titled 

Through the Lens: A Critical Examination of the Cinematic Adaptation of Midnight's Children and The White Tiger

Name: Jheel Barad

Roll No.: 12

Enrollment No.: 4069206420210003

Paper no: 210 (A)

Paper code: 22417

Paper name: Research project Writing (Dissertation Writing)

Sem.: 4 (Batch 2021- 2023)

Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University

Adaptation is an age-old practice that has been prevalent in both life and art since time immemorial. As the famous adage goes, "change is the law of nature," and adaptation is an essential process that facilitates change and evolution. From ancient Greek plays to Shakespeare's works, numerous examples abound in history where stories have been adapted to different mediums to cater to new audiences and gain creative and economic benefits. The process of adapting a story to a new medium involves a delicate balance of preserving the essence of the original while creating an independent form of art that can stand on its own. Creative satisfaction is a significant driving force behind the adaptation, as artists strive to retell stories that they find interesting and engaging. However, economic reasons cannot be overlooked, as production houses seek to capitalize on the popularity of famous and well-received stories to attract viewers and generate revenue.

It is essential to understand that when a work of art is adapted into a different medium, it becomes an independent entity, with its own unique qualities and characteristics. The original text and its adapted counterpart are rarely equivalent, and each must be evaluated on its own merits. The interdependence of the two forms is inevitable, and researchers must approach their work with a nuanced understanding of the differences that set them apart. Adapting a novel into a film, for instance, requires a different set of skills and techniques than writing a book. The cinematic medium demands specific narrative techniques, performances, and visual elements that can shape the way a text is presented. To adapt a story successfully, the artist must navigate these demands while staying true to the original story's spirit. By adapting stories to different mediums, artists can create new forms of art that cater to different audiences and capture the imagination of people across generations. However, it is vital to recognize that each adaptation is an independent entity with its own unique qualities and characteristics, and must be evaluated on its own merits. Ultimately, it is through adaptation that art can continue to evolve and thrive, reflecting the ever-changing world around us.

The topic of cinematic adaptations of novels has long been a subject of scrutiny and debate, owing to the widespread popularity of film as a medium across the globe. Transforming a novel into a film is a challenging process, given the distinct structures of these two art forms. Filmmakers often look to literature as a source of inspiration for their stories, with novels providing rich and complex source material for cinematic adaptations. However, the fidelity of these adaptations to the original source material has been a point of contention and discussion among scholars and critics. Many critics have argued that film adaptations are inferior to the literary texts they are based on. They have pointed out that the changes and omissions that are sometimes necessary in order to adapt a novel to the screen have been criticized by some as errors or shortcomings. The visual nature of the film has also been criticized for robbing a novel of its charm, leaving too much open-ended for viewers. The literary complexity of a novel can be a powerful tool for readers to imagine characters, objects, and places in their own way, which can be lost in the translation to film.

However, the debate around cinematic adaptations has recently shifted to a discussion of intertextuality. It has been acknowledged that a work of adaptation does not have to blend all the elements of a novel into a film in order to be successful. Adaptation is a work of art in its own right, and filmmakers have the freedom to create an independent interpretation of the original source material. Ultimately, the success of a film adaptation depends on its ability to capture the essence of the novel it is based on. The screenplay is not simply a reproduction of the original novel, but rather a new rendition of it that may include deviations, changes, omissions, and additions. While some viewers may have different perceptions of how characters, objects, and places should look, a good adaptation should still resonate with the original source material and evoke its key themes and ideas. As such, the relationship between literature and film adaptations remains a complex and ongoing subject of debate and analysis.

The world of literature is a realm of infinite possibilities, where words come to life and take on their own meaning. When an author crafts a novel, they pour their heart and soul into it, weaving their style and perspective into the piece of art. The result is a literary work that can be a pleasure to read, transport the reader to different worlds, and stimulate their imagination. A good novel has the potential to create a vivid imagination that can be a highly overwhelming yet a senses calming experience. The way elements are perceived in the minds of the readers may vary, leading them into areas unexplored before. The beauty of literature lies in its ability to evoke different interpretations and emotions in different readers, each experience unique to the individual. Words are fascinating, nimble, delicate, and yet very powerful. They can create vivid imagery that can be both overwhelming and calming. The process of reading a literary work can be a highly emotional experience that can leave a lasting impact on the reader. A work of literature can lead one into a world completely unknown, and the meanings and inferences that arise from it can be multitudinous.

The text may describe a lot, but there is often much left for the reader to interpret and discover on their own. The gaps in the author's description leave room for the reader's imagination to fill in the blanks, creating a personal interpretation of the text. This personal interpretation is what makes literature unique and allows it to transcend time and space. It is this universal quality of literature that makes it a powerful tool for communication and understanding. When a literary work is adapted to another medium, such as a movie or TV show, it provides an opportunity to see how the creative mind of a filmmaker interprets the author's work. The process of adaptation offers a unique opportunity for artistic collaboration, where two creative minds from different disciplines can merge to create a new form of art. It is fascinating to witness how gaps in imagination are filled by the filmmaker's vision and to observe how cinema fans respond to such adaptations. A film adaptation is a unique and dynamic product that results from the convergence of multiple authors, cultures, and audiences. It can be viewed as a hybrid creation that blends the original literary work with the filmmaker's creative vision, as well as the cultural and social contexts in which it is produced and consumed. This interactive process between the various elements involved results in a distinct and vibrant adaptation that is distinct from its source material.

Despite the shift in medium, the adapted work remains independent, yet interconnected with the original literary work. The essence of the original work remains intact, but it is transformed into a new form of art that can be appreciated in its own right. The adaptation process can bring the literary work to a wider audience, exposing new readers to the author's unique perspective and style. One of the most interesting aspects of literary adaptation is the different interpretations that can arise from the same work. A film adaptation of a novel can bring to life the characters and settings in a way that the written word cannot, but it also provides an opportunity for the filmmaker to inject their own interpretation of the text. This can lead to a divergence in interpretation between the original work and the adaptation, creating a new layer of meaning for the audience to discover.

According to critics, faithfully preserving the complexity and individuality of literary works in movie adaptations is a challenging task. This is because transforming literature into cinema is not a straightforward process, given the vast differences in dimensions and techniques between these two art forms. Adapting a literary work into a film is a complex task that involves a range of factors, from selecting the appropriate novel to adapt, to capturing the right milieu, casting the perfect actors, and staying true to the essence of the original work. Despite the difficulties involved, successful adaptations can result in a new and compelling interpretation of the source material that engages audiences in exciting new ways.

This research work, The study of film adaptations of Midnight's Children and The White Tiger challenged the assumption that transferring a novel to film is a simple process. It was observed that while the adaptations stayed true to the original text, they also made necessary changes to suit the visual medium. Such changes both enhanced and detracted from the themes and messages of the novels, and the adaptations effectively utilized visual storytelling techniques to convey the narrative and character development. By infusing the stories with unique techniques of the cinematic medium, the film adaptations transformed the texts into new, visually compelling experiences. This analysis underscores the complexity involved in adapting a novel to film and highlights the importance of careful consideration and creativity to bring the essence of the original text to life on the screen.

The film Midnight’s Children by Deepa Mehta is a loose adaptation of Salman Rushdie's novel of the same name. While the film does contain many of the major themes and events of the novel, Mehta takes significant liberties with the source material in terms of characterization, plot, and structure. For example, Mehta condenses and rearranges some of the novel's major events, changes the personalities and motivations of some of the characters and adds some new elements that are not present in the book. "Midnight's Children" takes significant liberties with the source material, it remains a powerful and compelling adaptation that captures the essence of Rushdie's novel while also exploring new themes and ideas.

"The White Tiger" is a film by Ramin Baharani, an adaptation of the novel of the same name by Aravind Adiga. In terms of how faithful the adaptation is to the source material, it can be classified as a loose adaptation. While the film captures the essence of the novel and follows the main plot points, there are some notable differences between the two. For example, the film omits several scenes and characters from the book, and some of the events are presented differently. Additionally, the film makes some changes to the character's personalities and motivations, which can be seen as departures from the source material. Therefore, it can be said that "The White Tiger" is a loose adaptation that balances fidelity to the source material with creative changes that make it a compelling film in its own right.

When considering the form of a text, whether it be a novel or a film, it becomes evident that the change in medium does not diminish the inherent meaning of the original text. However, it is important to note that adapting a text to a new form does require some alterations to be made.

While a text can be easily reproduced in a new medium, it is important to recognize that the medium itself brings its own unique set of tools and elements to the table. For instance, a film director relies on visual and auditory elements such as lighting, music, and sound effects to enhance the storytelling. These elements, in turn, contribute their own meanings and nuances to the final product. Rather than viewing the limitations of a new form in adapting a source text, it is crucial to consider how the new form can offer a fresh perspective on the text. The new medium can be seen as an arrangement of elements that provide the potential for interpreting the text in a new and exciting way. In short, the form of a medium should not be seen as a hindrance in adapting a source text, but rather as an opportunity for exploration and interpretation. By embracing the unique qualities of a new medium, one can uncover new layers of meaning in a text and create a work of art that stands on its own.

When Midnight’s Children is Adapted into a film by Deepa Mehta. The novel and the film have some similarities in terms of their form, but also some differences. Both share a nonlinear narrative structure and magical realism, blending fantasy and real-world events. However, the novel is narrated in first-person by Saleem Sinai, allowing for a deeper exploration of his thoughts and feelings, while the film uses a third-person perspective that creates more distance between the audience and the characters. Additionally, the novel describes characters in detail, exploring their motivations and emotions, whereas the film relies more on visual cues to convey personality and motivation. These differences in form impact the audience's experience and understanding of the story. Despite these variations, both the novel and film of "Midnight's Children" offer a captivating story that blends history, fantasy, and human experience.

"The White Tiger" film adaptation by Ramin Baharani shares similarities and differences with the novel in terms of narrative structure and style. While both versions follow Balram Halwai's rise from servant to entrepreneur, the film uses a frame story of Balram writing emails to his former employer, offering a more contemporary form of storytelling. Nevertheless, both versions offer commentary on social inequalities and corruption in India. The film and novel share common themes of class struggle, social mobility, and corruption. Both versions have well-developed and complex characters, including Balram and his employers, who offer insights into the nature of power and corruption. The film introduces unique symbols and adapts certain events in a non-chronological order, commenting on the fragmented nature of modern life. The lighting and camera work captures the tone and mood of the novel, adding an extra layer of meaning. Overall, the film adaptation offers a unique interpretation that is faithful to the original work, reflecting contemporary Indian society. It offers a fresh perspective on the novel's themes and issues, making it an important contribution to Indian literature and film.

Narration is a fundamental element of storytelling, whether it is in a novel or a film. Although the forms of these media are distinct, they both revolve around the art of narration. When a filmmaker adapts a novel into a film, they often seek to differentiate themselves from the original text by employing different narrative techniques. The resulting change in the narrative style can offer a fresh perspective on the story, but it may also be met with resistance from fans of the original text. Narrative techniques are essential in conveying meaning to an audience. Filmmakers and novelists both use these techniques to create a narrative that resonates with their audience. However, filmmaking as a visual medium requires a different set of tools and techniques to create meaning compared to novel writing. As such, a filmmaker may choose to use different techniques to convey the same message as a novelist.

The point of view is an important aspect of the narrative technique. Filmmakers or novelists must decide how they want to convey their message to their audience, whether it be through a first-person, second-person, omniscient narrator, or an interior monologue. Each point of view has its own qualities, and the choice of point of view can fundamentally alter the angle of the story. Furthermore, the lighting, color, sound, and music of a film all contribute to the narrative. These elements can emphasize the emotions, the atmosphere, and the overall tone of the story. They can also influence the audience's understanding of the narrative and create a particular mood or feeling. Michael Ryan states in his book, An Introduction to Criticism Literature/ Film/ Culture, "Narrative filmmakers tell stories with meaning, much as novel writers do. But filmmaking is different because it is a visual medium that requires very different tools and techniques for creating meaning."

Narration is a powerful tool in fiction, and its strength can make or break a story. If the narrative of the original text is compelling, a filmmaker may choose to implement the same technique or use another technique of equal strength. Social, historical, and cultural contexts also influence the way a narrative is conveyed, adding another layer of complexity to the art of storytelling. The narrative technique is a vital component of storytelling, whether it is in a novel or a film. It is the tool that creators use to tell stories and convey meaning to their audience. While different media have distinct tools and techniques, the fundamental importance of narration remains the same.

One of the most significant changes in narrative style between the novel and the film, Midnight’s Children, is the use of voiceover narration. In the novel, the story is told entirely from Saleem's point of view, and his voice is the only one that we hear. This allows Rushdie to create a rich and complex inner world for Saleem, and to explore his thoughts, feelings, and memories in great detail. In the film, however, Mehta uses a variety of different narrative techniques to tell Saleem's story. While there is still some voiceover narration from Saleem i.e. Third person Omniscient narration, the film also includes scenes that are entirely visual, as well as dialogue between characters that are not directly related to Saleem's inner life. The novel uses a nonlinear narrative structure, jumping back and forth in time to create a more impressionistic and dreamlike atmosphere. In the film, however, Saleem's story is told chronologically, with occasional digressions into his memories of the past.

A notable change in the narrative style of The White Tiger, between the novel and the film, is the use of a framing device. In the novel, Balram tells his story in a series of letters addressed to the Chinese Premier, who is visiting India. In the film, this framing device is removed, and Balram's story is told in a more straightforward manner. Another significant change is the use of voiceover narration. In the novel, Balram's voice is the only one we hear, and he tells his story in a confessional and introspective tone. In the film, Balram's voiceover narration is more sparse, and other characters are given more dialogue and screen time to express their own perspectives.

Time is an essential characteristic of any literary text, and it can take on many different forms. In a novel, time can be one-dimensional, poly-dimensional, dynamic, or static. It can also be compressed or prolonged within the text, allowing the author to manipulate the narrative flow as desired. Unlike real-time, which flows linearly, literary time can be changed and manipulated by the narrator. This can be accomplished through techniques such as foreshadowing and flashbacks, which allow the narrator to move back and forth in time to tell the story. One of the key features of literary time is its temporal orientation. In a novel, time can change course, and events can be described in the past or present tense. Foreshadowing can also be used to give readers a glimpse of what is to come, adding an element of suspense and anticipation to the story. In many cases, the use of these techniques can create a sense of timelessness in the narrative, as events seem to occur simultaneously or out of order.

Continuation and direction are two essential features of literary time. The idea of before and after is central to our understanding of time, and these concepts are often used by authors to structure their narratives. By moving back and forth in time, or by compressing years of events into a few lines, authors can create a sense of continuity and direction that drives the story forward. In films, time and space are handled differently than in novels. Filmic time and space are recorded on celluloid and edited together to create a coherent narrative. Special effects and editing software can be used to manipulate time and space in ways that are impossible in a novel. However, the basic categories of philosophy, aesthetics, psychology, linguistics, and art still apply to both mediums. Ultimately, the manipulation of time and space is a key element of both literature and film. By controlling the pace of the narrative and creating a sense of continuity, authors and filmmakers can craft stories that are engaging and compelling. Whether compressing years of events into a few lines or using flashbacks to reveal important details, the manipulation of time is an essential tool in the writer's toolbox.

In both time and space between the novel "Midnight's Children" by Salman Rushdie and the film adaptation directed by Deepa Mehta, there are some changes. In terms of time, the novel covers a span of several decades, from Kashmir 1915 capturing the family background of protagonist Saleen Sinai the story of his grandparents to 14th August 1977. Hoevotably follows the same time in the novel but definitely neglects some of the events and focuses on a period of Saleem's life, primarily the events leading up to and following India's independence in 1977. Similarly, in terms of space, the novel and film both take place primarily in India, with significant portions set in Pakistan and Bangladesh.

When comparing the novel "The White Tiger" with its film adaptation, it is evident that there are some differences in the representation of time and space. In the novel, there is no specific time frame other than the year 2010 when Balram Halwai achieved success as an entrepreneur. However, Balram provides time references at the beginning or end of his letters, giving a sense of the passing of time. On the other hand, the film adaptation opens with a clear indication of time and place - "Delhi 2007" - providing a specific point of reference for the audience. Unlike the novel, the time references in the letters are not included in the film, which instead relies on visual cues to convey the passage of time. Regarding space, both the novel and film are set primarily in India, with Balram's journey from his rural village to the city of Delhi forming a significant part of the story. The film remains faithful to the novel in its depiction of India, with its bustling streets, crowded markets, and stark class divisions. Bahrani's film captures the essence of India's culture, traditions, and societal inequalities, much like Adiga's novel.

Assignment 207: Contemporary Literature in English

A Critical Analysis of Female Characters in Revolution 2020

Name: Jheel Barad

Roll No.: 12

Enrollment No.: 4069206420210003

Paper no: 207

Paper code: 22414

Paper name: Contemporary Literatures in English

Sem.: 4 (Batch 2021- 2023)

Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University

Chetan Bhagat

Chetan Bhagat is a prominent Indian author, columnist, and YouTuber. He was born on April 22, 1974, in New Delhi, India. After completing his master's degree in business administration in 1998, he started his career in the corporate world. He worked with top-notch firms such as Peregrine Investments Holdings in Canada and Goldman Sachs in Hong Kong. However, his passion for writing led him to pursue a career in writing.

Chetan Bhagat started writing his debut novel "Five Point Someone" while working at Goldman Sachs in Hong Kong in the early 2000s. The book was published in 2004 by Rupa Publications, Delhi. It tells the story of three students who consider themselves to be below average among their peers at the Indian Institute of Technology (IIT). The novel received widespread critical acclaim and was later adapted into a successful Bollywood film named "3 Idiots."

Bhagat's success with his debut novel paved the way for his subsequent works, including "One Night @ the Call Center," "The 3 Mistakes of My Life," "2 States," "Revolution 2020," "Half Girlfriend," and "One Indian Girl." His books have been translated into several languages and have sold millions of copies worldwide. In addition to his writing career, Chetan Bhagat is also a renowned motivational speaker. He has spoken at more than 800 organizations in 1000 cities worldwide. Bhagat's works have been recognized and appreciated globally. He was included in Time magazine's list of the World's 100 Most Influential People in 2010.

Chetan Bhagat's notable works with their published year 

• Five Point Someone (2004)

• One Night @ the Call Center (2005)

• The 3 Mistakes of My Life (2008)

• 2 States (2009)

• Revolution 2020 (2011)

• Half Girlfriend (2014)

• One Indian Girl (2016)

• The Girl in Room 105 (2018)

• One Arranged Murder (2020)

• 400 Days (2021)

Revolution Twenty20

Revolution 2020 is a novel published in 2011, is set in the city of Varanasi, India, and tells the story of three childhood friends, Gopal, Raghav, and Aarti, as they navigate through life in the midst of corruption, politics, and societal pressures. The novel revolves around the central theme of the Indian education system and its drawbacks, as well as the political and social corruption that plagues the country. The characters in the book are relatable and their struggles resonate with the readers, making it an engaging and thought-provoking read.

The novel "Revolution 2020" by Chetan Bhagat tells the tale of two friends, Gopal and Raghav, and their love for Aarti, a girl they have known since childhood. Their ambitions and passions lead them down different paths, causing their friendship to suffer. Gopal's desire for wealth and status leads him into corruption, while Raghav's passion for fighting corruption makes him a journalist and later a political leader. Aarti, caught in between the two, falls in love with Raghav, but circumstances bring her and Gopal together.

The story is a poignant one that explores the harsh realities of life in India. The characters are well-developed, and the plot is engaging, with several twists and turns. The themes of ambition, corruption, love, and friendship are woven together seamlessly to create a compelling narrative.

The author's writing style is simple yet effective. He uses straightforward language that is easy to understand, making the story accessible to a wide audience. The dialogues between the characters are realistic and reflect the nuances of everyday conversations. The author's use of imagery and metaphors adds depth to the story, making it more engaging for the reader.

The character of Gopal is particularly well-crafted. The reader sees him evolve from a naive young man to a shrewd businessman, but also someone who is deeply conflicted about his choices. Despite his flaws, the author portrays him as a good man at heart. He is willing to sacrifice his own happiness to bring about the revolution that his friend Raghav desires.

The story is also a commentary on the rampant corruption in Indian society. The author portrays how corruption is deeply entrenched in every aspect of life and how difficult it is to fight it. Through Raghav's character, the author highlights the power of the media in exposing corruption and creating change.

In conclusion, "Revolution 2020" is a well-written novel that offers a glimpse into the complexities of Indian society. The story is engaging and thought-provoking, with well-crafted characters and a plot that keeps the reader hooked until the end. The author's simple yet effective writing style, along with his use of imagery and metaphors, make this a must-read novel.

Portrayal of Women

The portrayal of women in literature has always been a significant social commentary on the changing gender subjectivities of society. Chetan Bhagat's novels are no exception. Bhagat's characters, particularly his women, are depicted as having an unwavering will to emerge from the depths of melancholy. They revel in life and are not easily subdued by adversity. Bhagat's women are intelligent and capable of making their own choices and accepting challenges and risks in their decision-making process.

Rupal Oza has recognized that the post-development era in the 1990s introduced the concept of the 'new Indian woman', representing a modern, emancipated, and liberated woman in mainstream society. This idea was seen as vital to India's desire to be viewed as a global economic force. However, this image of the 'new Indian woman' was carefully crafted to be modern and represent globalizing India, while still being tethered to traditional values.

Bhagat's novels, particularly those written post-progression, reflect the post-millennial Indian woman and her urban life. The new setting of living and lifestyle choices presents a multitude of new potential personalities. The standards of social pressure and expectation seem to have shifted, with women now more intrinsically bound to the pressures of globalization, economics, and the genuine probability of individual choice. Nevertheless, both generations of stories explore what it means to be a woman in Indian society.

As India integrated into the global economy, many women, particularly those belonging to the working class, benefited from the expansion of the private sector. They were offered better wages and greater opportunities for mobility, which was not experienced by earlier generations. The image of the subservient gendered subject in a changing country was no longer viable. The digressive production of the idea of the new Indian woman is closely linked to the middle-class discourse on globalization and modernity, where the working class continues to define their modernity through certain traditional standards and practices while also adopting values such as greater independence, self-confidence, and a strong commitment to careers and professional growth. The new Indian woman is no longer confined to the domestic world but actively participates in professional and public spaces. She must find the right balance between tradition and modernity.

Bhagat's novels aptly depict the importance of his women focal characters. They believe in absolute, ideal, pure, and respectable freedom. They are creative in romance, breaking social decorum by pursuing men instead of the other way around. Bhagat is the only writer among his peers to portray women as hunters and men as the pursued. His women use all means to serve their female impulses.

Women in Revolution Twenty20

Revolution 2020 is a novel by Chetan Bhagat that presents a poignant tale of love, ambition, and corruption set against the backdrop of contemporary India. Aarti, the female hero of the novel, represents the new Indian woman who is caught between tradition and modernity, and who strives to carve her own path in life.

Aarti is a complex character who embodies the contradictions and challenges faced by Indian women today. She is a woman of great beauty and refinement, who is also fiercely independent and ambitious. Aarti is keen to pursue her own career and dreams, but she is also constrained by the patriarchal norms and expectations of her family and society. She is torn between her desire to break free from these constraints and her loyalty to her family and community.

“Aarti's struggle to assert her independence and pursue her dreams was a reflection of the larger societal conflicts and contradictions that define contemporary India” (Bhagat).

Aarti, the female hero of Revolution 2020, was an exceptional woman, who embodied a rare combination of beauty, intelligence, and independence. Gopal, her childhood friend, admired her for her grace and poise which set her apart from the other kids in their neighborhood. Raghav, on the other hand, was attracted to her sharp mind and quick wit, which made her the smartest girl in their class.

Aarti's beauty and intelligence, however, were not her only virtues. She was also ambitious, driven, and independent, which made her different from the other girls Gopal and Raghav knew. Gopal, who was in love with her, could not help but admire her fire and determination. Raghav, who eventually became her boyfriend, was drawn to her warmth and kindness which made everyone feel welcome.

“Aarti was the kind of girl who could light up a room with her smile. She had a warmth and a kindness that made everyone feel welcome” (Bhagat).

But Aarti's life was not without its challenges. She was torn between her loyalty to her family and her own desires, which is a common struggle for many women in India. She wanted to pursue her dreams of becoming an air hostess, but her parents wanted her to stay in Varanasi and join politics, a field that is typically dominated by men. Aarti's struggle to assert her independence and pursue her dreams was a reflection of the larger societal conflicts and contradictions that define contemporary India.

Despite the pressure from her parents and society, Aarti remained true to herself and her dreams. She was a trailblazer who dared to defy the norms and expectations of her family and society. 

As the narrator notes, “Aarti was a symbol of the changing times in India. She embodied the contradictions and complexities of the new Indian woman, who is both modern and traditional, independent and loyal, ambitious and aware of her social and cultural context” (Bhagat).

The novel portrays Aarti as a woman who is aware of the social and cultural pressures that shape her identity and choices. She is conscious of the expectations placed on her as the daughter of a District Magistrate and the social norms that govern women's lives in India. Aarti's struggle to assert her independence and pursue her dreams is a reflection of the larger societal conflicts and contradictions that define contemporary India.

Through Aarti's character, Bhagat offers a nuanced portrayal of the new Indian woman who is both modern and traditional, independent and loyal, ambitious and aware of her social and cultural context. Aarti's name itself is a nod to the Hindu ritual of a night prayer, which underscores her close ties to traditional Hindu religious practices. At the same time, Aarti was a remarkable character who defied stereotypes and challenged the status quo. Her story is a testament to the resilience and determination of Indian women who dare to dream and pursue their ambitions despite the obstacles in their path. As one of the characters in the novel remarks, “Aarti was an inspiration to all of us who dared to dream” (Bhagat).

Conclusion

Over the years, female characters have been portrayed in different ways, ranging from stereotypical roles as damsels in distress to strong and independent women who break gender norms. While some portrayals have been progressive and empowering, others have perpetuated harmful stereotypes and objectified women. One of the main issues with the portrayal of female characters is the lack of representation and diversity. Women of color, LGBTQ+ women, and women with disabilities are often underrepresented or portrayed in a stereotypical manner.

Moreover, female characters are often subjected to unrealistic beauty standards and sexual objectification, with their value and worth being based on their physical appearance rather than their personality or achievements. This can lead to a negative impact on young girls and women, who may develop a poor body image and low self-esteem. On the other hand, female characters who are portrayed as strong, intelligent, and capable can have a positive impact on young girls and women, inspiring them to pursue their dreams and break gender norms. However, even these characters are not immune to criticism, as they can sometimes be portrayed as too perfect or lacking in flaws, making them unrealistic and unrelatable.

In conclusion, the portrayal of female characters in media is a complex issue, and there is no one-size-fits-all solution. While progress has been made in recent years, there is still a long way to go in terms of representation, diversity, and the elimination of harmful stereotypes and objectification. It is important for creators and audiences alike to be aware of these issues and strive for more accurate and empowering portrayals of women.

Works Cited

Bhagat, Chetan. Revolution Twenty20 : Love . Corruption. Ambition. RUPA PUBLICATIONS INDIA PVT Limited, 2014. Accessed 7 March 2023.

“Chetan Bhagat’s 'Revolution 2020' to be on silver screen | Hindi Movie News.” Times of India, 30 September 2013, https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/chetan-bhagats-revolution-2020-to-be-on-silver-screen/articleshow/23260592.cms. Accessed 7 March 2023.

LAHANE, DR. B. T. “Delineation Of Female Character Aarti In Chetan Bhagat's novel 'Revolution 2020.'” Pune Research An International Journal In English, vol. 2, no. 6, 2016, pp. 2-8.

Oza, Rupal. The Making of Neoliberal India: Nationalism, Gender, and the Paradoxes of Globalization. Routledge, 2006. Accessed 7 March 2023.

Pandey, Rajesh Chandra. “'Revolution 2020' by Chetan Bhagat: A critical review.” IndiaStudyChannel.com, 2 November 2011, https://www.indiastudychannel.com/resources/146343-Revolution-2020-by-Chetan-Bhagat-A-critical-review.aspx. Accessed 7 March 2023.

SinghJhanji, Dr. Rajtinder. “INDIAN WOMAN-THE ICON OF NEW INDIA IN THE NOVELS OF CHETAN BHAGAT.” International Journal of Research and Analytical Reviews (IJRAR), 2008, http://ijrar.com/upload_issue/ijrar_issue_20544141.pdf. Accessed 7 March 2023.