Abstract

Объект исследования данной статьи – литературная карта как визуальный элемент детской книги на рубеже XIX–XX веков – малоизученная область визуальной культуры детства. Карта становится важной составляющей визуальной культуры детства во второй половине XIX века. Целью исследования было проследить становление картографической традиции в детской литературе Великобритании. Для достижения поставленной цели потребовалось, во-первых, изучить ведущие современные направления в изучении литературной карты. Во-вторых, сформировать терминологический аппарат для описания карты как документального и эстетического объекта в рамках литературного произведения, который в силу малой изученности отсутствует в русском языке. В-третьих, описать пять литературных карт из классических произведений британской детской литературы Золотого периода в их взаимодействии с текстом. В результате работы автор приходит к выводу, что, являясь важным паратекстуальным элементом детской книги, эти карты представляют различные типы взаимодействия с основным текстом: карта-сюжет, карта-документ эпохи, карта-рассказчик, карта-память. Since one of the first representations of the Earth in “The Map Psalter”, marine maps from the Age of Discovery and the first literary atlases, maps have held a special place in British culture. Since the map of the Treasure Island, which is considered to be a pioneer of the kind, from Robert Louis Stevenson’s novel of the same name, maps have always played a significant role in British children’s literature. A literary map, especially a map in children’s books, is an important paratextual element. Although the roles and functions of maps may vary greatly, the place of a map (most frequently it is an endpaper or a frontispiece) makes literary cartography the first visual element for the reader, which enables a map to set the setting, genre, and particular audience expectations. The fact that it is not an obligatory element of a book makes the presence of a map in a book an essential part of the author’s artistic vision and a key (para)textual element of the book. The five maps from the classic books written for younger readers between 1883 and 1926 may prove that maps perform multiple functions and play a greater role than that of beautiful drawings on frontispieces. The maps are the 17th-century marine map of the imaginary island from Robert Louis Stevenson’s Treasure Island; the actual map of India from Rudyard Kipling’s Kim; the map of Kensington Gardens presumably drawn by a child from James M. Barrie’s Peter Pan in Kensington Gardens; the map of the Thames Valley inhibited by anthropomorphic animals from Kenneth Graham’s The Wind in the Willows. The analysis of these maps’ paratextual powers and textual-visual interactions leads to the conclusion that the five literary maps from the classic children’s books of the Golden Age period reveal the five potential ways of interaction between the textual and the visual: map as a plot device, map as a document, map as a narrator, map as the transcendent, and map as memory, correspondingly. The conclusion poses the following questions: What happens to maps during the act of translation from English into Russian or any other language? Is it possible to translate cartography? How crucial is the omission of a map? The answers to these questions are yet to be discovered.

Abstract

ABSTRACT Children’s literature has lived, flourished and transformed in/the oral traditions of every race and nation. Listening to stories have been a crucial element in inculcating in children the values and ethics, social, cultural, political and religious mores of society and of the nation at large. A tremendous amount of scholarship has emerged within the last few decades on children’s literature and its implications on the child. Despite this very little work is done on indigenous Indian children’s literature and more so on children’s magazines in English in India in particular. This is inspite of the fact that most urban English-educated child in India is exposed to these magazines at some point or the other as they grow up which subtly influence their social and cultural worldviews. This study attempts to engage with a set of selected children’s edutainment magazines in English or in English translations available in India and tries to assess the relevance of such a genre for educating children in India. This paper argues that the children’s edutainment magazines function as ideological cultural and creative products produced by the cultural-product industries, but at the same time play an active and positive role in the acquisition and development of cultural capital in children, which will enable them to become active and responsible citizens of the world. Early encounters and engagement with magazines will enable children to develop their academic, social, personal and interpersonal skills, which is at the crux of the holistic education programme today. The study will focus on the postulations of social and cultural capital as posited by Pierre Bourdieu to argue that the magazines are important tools in the holistic development of a child by analyzing the role the magazines play in the larger society and in the development of the child.

Abstract

Abstract:Missionary literature for young British readers in the nineteenth century drew upon on a hierarchy of colonial childhoods premised on racial differentiation in India. But in the colonial field, these colluded with existing dominant caste biases perpetuated through violent means. This article argues that the interplay of caste and philanthropy in juvenile missionary periodicals highlights the complicated nature of missionary reform for poor children in India. The multiple Otherings of low-caste children destabilized missionary notions of sentimentalized childhood even as periodical literature represented them as objects of pity. These children were not "voiceless victims," but their lived realities impinged on missionary practices and literary representations. This article explores these entangled colonial encounters, which reshaped ideas of colonial childhoods and philanthropy through the periodical literature and the work of the Coral Fund-supported schools.

Abstract

The linguistic, cultural and colonial history of India intricately connects the politics of translation. Sociocultural imperialism and linguistic supremacy in translating texts often reflect the unequal distribution of power between different languages and cultures. The challenge faced by translators is to preserve the original content while adapting it to suit a different audience, therefore balancing the principles of faithfulness and adaptation. Translators frequently face the difficulty of articulating identities that may lack explicit counterparts in the culture they are translating, thereby interpreting the concepts of identity and otherness. Globalisation and commercialisation have led to the emergence of translation as a significant industry, particularly in industries like media, publishing and entertainment. English served as a tool for colonialism and an analysis of its influence and linguistic hierarchy was conducted. In contemporary times translation has played a vital role in Dalit movements. Dalit writers, who predominantly write in regional languages, frequently encounter marginalisation within the dominant Indian literary culture.

Abstract

This paper studies the Bengali translations of Hans Christian Andersen’s fairy tales during the mid-nineteenth century. It starts by looking at how the Vernacular Literature Society, Calcutta (established 1851) introduced Andersen’s tales to counter the lowbrow Battala literature considered inappropriate by the Bengali educated class, the bhadralok. The colonial archive shows that it was Clara de Chatelain’s English translation that Madhusudan Mukhopadhyay, the secretary of the Society, used as the source text. Departing from an instrumentalist way of looking at translation in terms of faithfulness to the original and building on the work of Lawrence Venuti, I examine the hermeneutics of Bengali translations of two of Andersen’s tales: “The Four Winds” and “The Story of a Mother.” I argue that the hermeneutics of these translations show that Mukhopadhyay’s interpretants are embedded in the complex process of colonial negotiation out of which a new Bengali identity emerged in mid-nineteenth-century India.

Abstract

of a Poet") in the Revue de Paris (Paris Review).1 Andersen recalled his meeting with Marmier

Abstract

ABSTRACT This article explores the vocabulary used for shame in a children’s periodical from Lahore, in colonial North India. Following decades of reconfigurations of norms of behaviour and of akhlaq (moral, ethical) literature, Phūl (‘Flower’) was one of the first periodicals for children, and one with the longest run. Using emotions, it aimed to entertain as much as to educate the young Urdu-reading public. Thanks to a careful examination of every weekly number through the year 1910 – the first full year of publication –, the objective is to highlight the various meanings and uses of shame in early twentieth-century Urdu children’s literature. In Phūl, shame was consistently expressed by the term sharm, with only rare exceptions. This conspicuously contrasts with the resort to diverse terms for contemporary representations of community shame and dishonour in the male public sphere since the late nineteenth century. Through typical animal stories, moral tales and illustrations, this article highlights how contributors used shame to monitor children’s emotions and behaviour. Despite its striking homogeneity of vocabulary, however, sharm involved a full palette of nuances, from the isolating emotion elicited by transgression (the ‘blackness’ of shame) to the very condition of respect, without which social cohesion was impossible. I argue that, crucial for the enculturation of morality, good manners, and gendered expectations, sharm was more semantically capacious than what we label as shame in English, notably by encompassing aspects which some, in Ruth Benedict’s and Eric R. Dodds’ steps, have associated to a different and sometimes opposite concept: guilt.

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The paper intends to study the translation of a few selected stories of Hans Christian Andersen in an Indian vernacular language, Odia. It argues that the translation strategy adapted by the translator is guided by the purpose of translation and the expectation of the target readers. The paper takes into account eight selected fairy tales translated by Sri. Sujata Mishra for this study, which is published under the Biswa Sahitya Granthamala series by Granthamandir, a renowned Indian publisher. We would examine the translation strategies used in introducing the world author to the non-English speaking readers of Odisha, an Indian state.

Abstract

Can a subject be sovereign in a hegemony? Can creativity be reined in by forces of empire? Studying closely the oral narrations and writings of four Indian authors in colonial India, The Audacious Raconteur argues that even the most hegemonic circumstances cannot suppress "audacious raconteurs": skilled storytellers who fashion narrative spaces that allow themselves to remain sovereign and beyond subjugation. By drawing attention to the vigorous orality, maverick use of photography, literary ventriloquism, and bilingualism in the narratives of these raconteurs, Leela Prasad shows how the ideological bulwark of colonialism—formed by concepts of colonial modernity, history, science, and native knowledge—is dismantled. Audacious raconteurs wrest back meanings of religion, culture, and history that are closer to their lived understandings. The figure of the audacious raconteur does not only hover in an archive but suffuses everyday life. Underlying these ideas, Prasad's personal interactions with the narrators' descendants give weight to her innovative argument that the audacious raconteur is a necessary ethical and artistic figure in human experience. Thanks to generous funding from Duke University, the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.

Abstract

Ireland and India have a long-standing cultural heritage and also share similarities in certain colonial traits. This paper aims at analysing the phenomenon of linguistic colonialism – in this case the imposition of the English language – and its features by drawing a literary parallel between Ireland and India. Through the comparison of excerpts from Brian Friel’s Translations and passages from contemporary Anglophone Indian literature, this paper will investigate the similarities and differences between the experiences of these two former British colonies. While Friel’s play is set in nineteenth-century Donegal, some of the examples of contemporary Anglophone Indian literature that are provided stretch backwards to reach the nineteenth century, while others engage with contemporary times and the legacy of linguistic colonialism. The features of linguistic colonialism that I will examine are dealt with in three sections that focus on mapping and translation, the treatment of toponyms and names, and the relationship between school and language.