Questions for UGC-NET English

Questions:

Wycliff PIERS THE PLOWMAN is in 3 parts published in 1362,77,92 

*15000 Lines 
*Contain 9 Dreams 
*Inspired from Dante's THE DIVINE COMEDY 

Bacon's NEW ATLANTIS was influenced by 
a) Aristotle's Poetics 
b)Moore's Utopia 
c)Plato's Republic 
d)Lyly's Euphues 

William Prynne's HISTRIOMASTIX (1633) is attack on 
a)Stage 
b)James I 
c)Romances 
d)Comedy of Errors 

Q: C. Day Lewis belonged to a group of people known as 
a) Maspaunday (Check)
b)Septimus 
c)Sacular 
d)Anti-War 

In the mid-fifties, the magazine QUEST was edited by 
a) Daruwallah 
b) Ezekiel 
c) Mahapatra 
d) Kalotkar 

Irish National Theatre was founded in 
a) 1901 
b) 1902 
c) 1903 
d) 1904 

Q: 1st Writer of MIDDLE STYLE is 
a) Bacon 
b) Addison 
c) Thomas More 
d) Pope 
NOTE: Huge Latimer is 1st writer of PLAIN STYLE

Magazine 

Coleridge-Watchman-1796 
Jeffrey-Edinburgh Review-1802 
Wilson-The Quarterley-1808 
Gibson-Blackwood-1817 
Eliot-Criterion-1922

Who wrote "A PAIR OF MUSTJCHIOS" 
a)Anand 
b)Tagore 
c)Rao 
d)Desai 

"Exterer Book" include 7 old poems: 
*Deor 
*Wulf & Eadwacer 
*The Wife's Lament 
*The Husband's Message 
*The Ruin 
*The Wanderer 
*The Seafarer

Q: In which Age no Substantial comedy was written 
a)Georgian 
b)Milton 
c)Romantic 
d)Victorian 

Q: Meaning of BIBLE is 
a) God 
b) Religion 
c) Book 
d) Christ 

Old book "in the English tongue for English men" 
a) Schole of Teaching 
b) Scholemaster 
c) England 
d) Great Bible 
NOTE: Toxophilus by R Ascham

Meaning of quaire in King's Quair 

a)Power 
b)State 
c)Book 
d)city 
ans: c) James of Scotland,4 beloved wife Jane Beaufort, Rhyme Royal syllable

Term MARLOWE's MIGHTY LINE means  A blank verse which could record every gesture of magnificence term by Ben Jonson 

Last Work 

+Castaway-Cowper 
+Bright Star-Keats 
+The Triumph of Life-Shelley 
+Henry VIII-Shakespeare 

There is no duller dog in Literature than 
a) Lyndgate 
b) Occleve 
c) Hawes 
d) Henryson 
ans: b) Comptton-Rickett. P.73

Q: Which novel is regarded as a "novel of family and of home" 

a) Pamela 
b) Ulysses 
c) The Vicar of Wakefield 
d) Tom Jones 

Who is called "Poor idle singe of an empty day" 

a) Morris 
b) Rossetti 
c) Thompson 
d) Love 

Who is known as "self taught farmer poet" 
a) Morris 
b) Lewis 
c) Blunden 
d) John Clare 

Q: "Fall of Angles" is also called 
a) Fall of Evil 
b) Genesis A 
c) genesis B 
d) Milton 
Ans: c) IFOR EVANS, Page 12

How many plays of Shakespeare have been given prose form in TALES FROM SHAKESPEARE 

a)19 
b)20 
c)21 
d)22 
by Charles & Mary Lamb-1807

Q: Name of Beowulf's sword in poem BEOWULF 
a)Lafing 
b)Hrunting 
c)Brand 
d)Naegling (Given more than 20 names)

Whose son died in World War I 
a) Pound 
b) Kipling 
c) GB Shah 
d) Bregson 
Ans: b)Son John,in Battle of Loos, Poem "MY BOY JACK" (1915)

Who belongs to Beat Movement 
a)Allen Ginsberg 
b)R Souster 
c)Charles Sourley 
d)J Lenon 
Ans: a)American Movement 1950, MH Abrams 209

Who is Laureate of the Body 
a) Keki N. Daruwala 
b) Gieve Patel 
c) AK Ramanujan 
d) KD Katrak 

Birth: 
1552-Spenser 
54-Sidney,Raleigh,Lyly 
58-Kyd,Lodge,Peele 
60-Greene 
61-Bacon 
64-Shakespeare,Marlowe 
67-Nashe,Campion 
70-Middleton

In Scott's IVANHOE, name of disguised Robinhood? 

a) Katherine 
b) William Breck 
c) Robert Louis Barrelt 
d) Briande Bess-Guilbert 

Q: number of books in THE RING AND THE BOOK 

a)10 

b)7 
c)5 
d)12 
narrative poem, a verse novel, of 21000 lines by Browning

Bible: 
1382-Wyclif's Bible 
1536-Tyndale's Bible 
1539-Cramer's Great Bible 
1560-Geneva's Bible 
1568-Bishop's Bible 
1611-King's Bible

Q: Who has been hailed as "the master illusionist" 
a)Richardson 
b)Sterne 
c)Fielding 
d)Deniel Defoe 

Q:French Poet TRISTAN TZARA gave birth 
a)Dadaism 
b)Futurism 
c)Expressionism 
d)Acmeism 
began in Zurich,Switzerland,from 1916 to 22

Which character kills his father and marries his mother 
a)Laius 
b)Rex 
c)Oedipus 
d)Laius 
Ans:c) 
He has 2 sons & 2 daughters from his mother

Father of TRAGEDY 
a)Aeschylus 
b)Sophocles 
c)Euripides 
d)Polybus 


Q: The Character MOGLI was created by 

a) IA Richards 
b) Eliot 
c) Rushdie 
d) Rudyard Kipling 
Ans: d) in THE JUNGLE BOOK: Nobel Prize-1907

Q: The term "Georgian" coined by 
a) Edward Marsh 
b) Shawn Marsh 
c) Albet Marsh 
d) Eliot 

Sprung Rhyme is related to 
a) Eliot 
b) Hopkins 
c) Pound 
d) IA Richards 

Q: Who was "To be in league with the Devil" 
a) Milton 
b) Roger Bacon 
c) Blake 
d) Eliot 
Ans: b) 
Comptton-Rickett, Age of Chaucer

FIVE Section of THE WASTE LAND 
1.The Burial of the Dead 
2.The Game of Chess 
3.The Fire Sermon 
4.Death by Water 
5.What the thunder Said

Q: The Egoist, The Scrutiny are the journals edited by 
a) Shah & Young 
b) Eliot & Pound 
c) Eliot & Levis 
d) Rickett & Cazamian 

Book-Author 

*Wealth of Nations-Adam Smith 
*Poetics-Aristotle 
*Principia-Newton 
*Republic-Plato 
*Origin of Species-Charles Darwin

Q: 1st poet laureate of 21st is (from 2009-19) 
a) Motion 
b) Marvell 
c) Llosa 
d) Carol Anne Duffy 
NOTE: 1st women laureate, 1st biosexual poet.

Q: who is known as 1st poet of Modern Age? 
a) Pound 
b) Eliot 
c) Owen 
d) Thomas 

Q: Nick name of Queen Elizabeth is 
a) Melisa 
b) Bess 
c) Diana 
d) Mary II 

Quote: 
*To Be Is To Do-Socrates 
*To Do Is To Be-Plato 
*To Be Or Not To Be-Shakespeare 

7 Feb 
*1812-Dickens (d.70 
*85-Lewis (d.1951 

8 Feb 
*1952-ElizabethII becomes Queen of UK 
*1612-Samuel Butler (d.80 
*1819-John Ruskin (d.00

Death
Socraties-399 bc 
Plato-347 bc 
Aristotle-321 bc 

Q: THE UNTOUCHABLE (1997, a deft transmulation of spy novel) is by 
a) Reid Banks 
b) Bainbridge 
c) M.R. Anand 
d) John Banville 

MACBETH 
*3 witches called Weird Sisters 
*Macbeth is called Bellona's Bridegroom in Act-I 
*Bellona-Goddess war 
*Hecate-Goddess Witchcraft

Samuel Langhorne Clemens is pen name of 
a) Fitzgeralds 
b) MarkTwain 
c) Henry James 
d) Whitman 

Inn Yard Theater 
1576-94: The Bull Inn 
76-94: The Bell Savage 
76-94: The Cross Keys 
76-94: The Bell 
76-94: The White Hart 
76-94: The George

London Playhouses 

1573-Middle Temple Inn 
76-St. Paul's Cathedral 
76-Gray's Inn 
76-Whitehall Theatre 
76-Blackfriars 
96-Blackfriars

Theater 

1576-The Theater 
77-Curtain 
87-Rose 
95-Swan 
99-Globe 
1600-Fortune 
00-Boar's Head 
04-Red Bull 
08-Whitefriars 
13-Hope 
16-Cockpit

Julius Caesar is also known as 

a) Germanicus 
b) France 
c) Caligula 
d) Tiberius 
Ans: c) means "Little Soldier's Boot" 
Note: (a) is his father

22Jan 
*1901-Edward VII become King of England 
*1901-Death of Queen Victoria 
*1949-Death of William Walsh (1891)

22 Jan 1901 Edward VII is proclaimed King after the death of his mother Victoria 

Meter 
Monometer-One feet 
dimeter-two feet 
trimeter-three 
tetrameter-four 
pentameter-five 
hextameter-six 
heptameter-seven 
octameter-eight

Booker 
10-HOWARD JACOBSON, The Finkler Question 
09-HILARY MANTEL, Wolf Hall 
08-ADIGA, The White Tiger 
07-Anne Enright, The Gathering

Lyly's two works COMPASPE and ENDIMION performed in front of Queen Elizabeth probable by boys actors known as "Children of Paul's."

Canterbury Tales 
*Lines:17000 
*character-26 men 3 women 
*Start:The Knights Tale 
*End:The Parson's tale 
*Based on Decamoran by Boccaccio

Chaman Lal 
Books 
*My True Faces 
*Azadi 
*Into Another Dawn 
*The Crown 
*The Lioncloth 
*The English Queens 
*Sunrise in Fiji 
*The Salt of Life

King 
1066-87:William Norman 
87-1100:His son 
00-35:Henry 
35-54:Stephan 
54-89:Henry II 
89-99:Richard John 
99-1216:Joh 
16-72:Henry III

Birth Death 
1659-1731:Defoe 
67-45:Swift 
68-44:Pope 
72-29:Addison,Steele 
89-61:Richardson 

1707-57:Fielding 
09-84:Johnson 
28-74:Goldsmit

Raja Rao 
*Kanthapura 
*The Serpent & the Rope 
*The Cat & Shakespeare 
*Comrade Kirilov 
*The Policeman & the Rose 
*On the Ganga Ghat

Character-Book 
*Elizabeth Bannet-Pride & Prejudice 
*Maggie-Mill on the Floss 
*Henchard-The Mayor of the Casterbridge 
*King Magnus-Saint John

Autobiography: 
Remine Scences-Tagore 
My Story-Kamala Das 
Towards Freedom-Nehru 
The Words-Sarter 
The Confession-Rousseau

Victorian protagonist exchange his soul for youth that never fade 

a)Cylm Yeobright 
b)Henry Esmond 
c)Dorian Grey 
d)Cliffors 

Q: English Critic AC Bradley (1851-1935) published his book "Shakespearean Tragedy" in 
a) 1903 
b) 1904 
c) 1905 
d) 1906 

The Term ANGLO SAXON was first used by the scholar Camden in his book HISTORY OF BRITIAN. 

Who was prince of Troy in Homer's Illiad 
a)Achilles 
b)Hector 
c)Menelaus 
d)Paris 

"Savitri," by Aurobindo, is the longest poem of English Literature written outside English speaking countries of Europe & America.

GB Shah is only person to have been awarded both, Nobel Prize for Literature (1925) and Oscar (1938) for film Pygmalion(Play with same Name)

Romantic Age(1798-1837)is also known as British Regency Period

Shakespeare did not know Letters 'J' and 'X'  Because these alphabets came  after 14 years from his death.  So u cant find J & X in his poems.

The evils of Private schools are mitigated by Dickens in 
a) Nicholas Nickleby 
b) Oliver twist 
c) Great Expectations 
d) None 

Atwood: 
*Bodily Harm 
*Surfacing 
*The Edible Woman 
*Wilderness Tips 
*The Tent 
*Oryx & Crake 
*The Robber Bride 
*Cat's Eye 
*The Handmaid's Tale

*The War of the Flood is the latest novel of Margaret Atwwood 
*Theory of Tensions given by Allen Tate 
*Principle of Texture given by Ranson

Death: 
Shelley-Drowning 
Byron-Fever 
Keats-TB 
Bronte Sisters-TB 
Dickinson-Suicide 
Lamb-Infection Erysipelas 
Marlowe-fight with Ingram Frizer

Full Title: 
Areopagitica: A Speech of Mr. John Milton For the Liberty of Unlicensed Printing To the Parliament of England (1644) 
by 
Milton

James Hogg is known as "the Eric Shepherd" Wordsworth "Muse of Poetry" 
Shakespeare "Bard of Avon" 
Wordsworth+Southey+coleridge "Lake Poets"

Carol Ann Duffy 
*Take My Husband 
*Cavern of Dreams 
*Little Women,Big Boys 
*Loss 
*Casanova 
*Meeting Midnight 
*The Oldest Girl in the World

Lal Bahadur Shastri translated autobiography of Madam Curie into Hindi. she was French scientist who discovered Radium.  won Nobel in 1903 & 11

Q: Who at the last stage of life became a LUNATIC 
a) Shakespeare 
b) Johnson 
c) Swift 
d) Coleridge 
Ans: c) 

Sahitya Academy Award English 
2003-Chaudhuri 
04-Mukherjee 
05-Chatterjee 
06-Rupa Bajwa 
07-Malathi Rao 
08-No award 
09-Chaturvedi Badrinath

Q: Name of the First Newspaper (1702) 
a)Daily News 
b)Globus 
c)Daily Courant 
d)Daily Times 
Ans: c) first published as Periodical in 1621

Nobel:

1901-Prudhomme 
07-Kipling 
09-Lagerlof 
13-Tagore 
15-Rolland 
23-Yeats 
25-Shaw 
32-Galsworthy 
34-Pirandello 
36-O'Neill 
38-Buck

1909-Lagerlof 
26-Deledda 
28-Undset 
38-Buck 
45-Mistral 

48-Eliot 
49-Faulkner 
50-Russell 
53-Churchill 
54-Hemingway 
57-Camus 
62-Steinbeck 
64-Sartre 

66-Sachs 
69-Beckett 
76-Bellow 
83-Golding
66-Sachs 
91-Gordimer 
93-Morrison 
96-Szymborska 
2004-Jelinek 
7-Lessing 
9-Muller

Nobel for LIT work 
29-Mann-Buddenbrooks 
32-Galsworthy-Forsyte Saga 
37-RMD Gard-Les Thibault 
54-Hemingway-Old Man & Sea 
65-Sholokhov-The Don

Nobel for Special LIT Work 
02-Mommsen-A history of Rome 
19-Spitteler-Olympian Spring 
20-Hamsun-Growth of the Soil 
24-Reymont-The Peasants

Q: Whose novels are called "Domestic" or "Tea Table" novels 
a) Jane Austin 
b) Emily Bronte 
c) Virgina Woolf 
d) Charles Dickens 

Q: Art of English Poesy (1602) is a book of Criticism by 
a) Sidney 
b) Champion 
c) Fletcher 
d) Moris 

Q: Clear copy of Canterbury Tales 
a)Troy Boke 
b)Falles of Orincesm 
c)Governail of Pirnces 
d)Storie of Thebes 
Ans:d) all books by Lydgate

Q: In Italy, Love Poetry is called 
a)Amourist 
b)vulgar 
c)Songs 
d)Cultural Ans: a)Brought in England by Wyatt & Surrey

Subaltern Ethico-politics

http://democracies2come.blogspot.in/p/subaltern-definition.html

Subaltern Ethico-politics
Ethico-politics and the Subaltern

The subaltern might be summarized as spaces cut off from the lines of social mobility, or as women and men outside the lines of socio-economic class mobility, particularly rural illiterate women and men of the global south. Those active in such spaces are illegible to those who occupy the space produced by complicity with the patriarchal state and the secular liberal European imaginary, so communication from and with the subaltern is troubled by foundational problems of the politics of knowledge and action.

The term as classically defined in the writings of Antonio Gramsci (on southern peasants) has meant a worker outside of systems of industrial production, something like a subproletariat, generally small-scale agrarian workers characterized by weak socio-political consciousness.  The term was adapted from Gramsci by the Subaltern Studies group in India of historians and critics to emphasize rural resistance to British colonial rule in India, associating the term subaltern with armed anticolonial insurgencies. Gayatri Spivak intervened in this approach by recognizing that the subaltern was gendered and not easy to understand or even name. And the term has spread to use in understanding rural and urban areas in Latin America, East and Southeast Asia, Africa, and other regions.

Demographically subalterns might be understood in Spivak’s writings to mean something like peasants and fisherfolk of the global south (Responsibility 88, 93). Readings or locations to start to understand the historical conditions of the subaltern might include Samir Amin’s Unequal Development or, for works more centered on women’s labor, Noeleen Heyzer’s Daughters in Industry,  Dignity and Daily Bread by Swasti Mitter and Shiela Rowbotham, or Allen and Wolkowitz’s Homeworking. (Subaltern Talk 294)

Examples of the subaltern include the illiterate rural women of the global south that Spivak emphasizes in her work, including children in two aboriginal pockets of western West Bengal, India, and in southern Yunnan, China, where she has constructed schools to work with subalterns. Other examples from fiction of subalterns include several figures found in the stories of Mahasweta Devi, such as the pterodactyl in her story of that name and a number of women characters (e.g., Jashoda, in the story “Stanyadini” translated by Spivak as “Breast-Giver”). Insurgents who might be considered subaltern include Bhubaneswari Bhaduri, about whom Spivak wrote her initial article on the subaltern, and several figures prominent in the fictional works of Mahasweta Devi (Draupadi; “The Hunt”). Spivak has also written about Assia Djebar, who includes Lla Zohra and other figures among the Algerian mujahidat or women freedom-fighters that she mentions in her autobiographical work, Fantasia.

Spivak notes that gender is important in considering the subaltern (“Subaltern Studies” 226-32), so she has at times emphasized rural, illiterate women of the global south, as in the Sahel, West Bengal, Bangladesh, southern Yunnan China, Afghanistan, and elsewhere. Yet subalterns are also found in urban settings, as in the low-income housing tracts of Wahrān, Algeria, where Spivak worked in the early 1990s, or urban homeless and school dropout populations. Urban subalterns might be compared usefully to what Fanon and some Marxists call the lumpenproletariat, a population of often illiterate unemployed and underemployed urban underclass. Spivak has also worked with examples of middle class women in developing her notion of the subaltern, as in her references to the suicide of Bhubaneswari Bhaduri in her foundational article on whether the Subaltern can speak and in her deployment of the fiction of Mahasweta Devi, a journalist and teacher.

However Spivak and others warn against considering the subaltern in demographic terms, however, given the association of demography with the pervasive surveillance and the biopower of the state.  She suggests instead thinking of the subaltern as a space obstructed from class mobility or from structures and institutions that would allow the grievances and other speech of the subaltern to be recognizable and gain traction. (“In Response” 228, 233-34) This space is cut off from what is sometimes called the public sphere (“Resistance” 72-3) or what Spivak variously calls the “the space produced by patriarchal complicity, namely the state” or the space of those trained in “the liberal European secular imaginary” (Not Virgin 175), making the speech and writing of the subaltern illegible to those who occupy these other spaces.  In other words, the silence of the subaltern is not literal silence, but more of a blockage or aporia caused by the assumptions of Eurocentric, liberal Enlightenment humanism. ("Can the Subaltern Speak” 306).

Once the blockage between subaltern spaces and the space of the modern liberal state becomes legible, Spivak urges a politics of decolonization of the mind and behavior through negotiation with the often unrecognized founding violences of modern language and agency (“The Politics of Translation” 181-3; “Ethics and Politics” n. 3, p. 18). Such an approach to the subaltern makes possible a refusal of the appropriations through modern logic and reason of disruptions in “normal” modern language, history, and liberal presumptions to agency that otherwise would be carried out on the assumption of the knowability, solidarity, and similitude with the subaltern Other. (“French Feminism Revisited” 170, 183; “Ethics and Politics” 22) Rather than minimalizing these disruptions, considering the subaltern may refuse to be articulated and appropriated under the “normal” of modern history, reason, and language.

This refusal allows for knowledge and action that gesture towards that which is outside the historical limits language imposes on reason and for contesting neocolonial knowledge practices and the modern liberal family and nation-state. (“Ethics and Politics” 17-21, 23-26) Concrete examples of that which is outside the historical limits modern language imposes on reason are scattered through Spivak’s writings, but might include the ways that an activist’s speech to the World Bank is staged (“Responsibility” 91-2), the erasure of possible women’s solidarity through the translation of descriptions of gendered violence (Death 61-4), or how English translations of Marx obliterate the specific task of collective, class consciousness (“Subaltern Studies” 214-6).

Spivak’s early article on the difficulties of hearing the subaltern speak concluded with a brief discussion of the suicide of a young woman who had not been able to be heard even when she made the effort to the death to speak. (Subaltern Talk 292) This notion of speaking is based on the linguistic theory of J.L. Austin, who argued that for the speech act to be complete requires someone who can hear the speech effectively, together with a careful reading of Marx on how workers can establish ways to make class resistance gain traction and a foothold in society. (“In Response” 233) In the case of Bhaduri’s suicide, the difficulties in hearing the speech of the subaltern were not because of any lack of effort of subalterns to represent the self or their collective resistance. The difficulty that those educated in modern societies have in hearing and understanding the subaltern is due to a combination of the lack of appropriate infrastructure as well as a failure of responsibility in those addressed by the subaltern (“Responsibility” 93).  Subalterns work to represent themselves outside of the lines of representation laid down by official institutions of representation, so their speech does not have a structure or institution where it can count, so it ultimately does not catch or hold. (“Subaltern Talk” 306 ; “In Response” 233) 

One goal of work to hear and understand the subaltern is to find ethical ways to enter into relations of responsibility for those of us who are not subalterns (Death 69; 101-2), to build structures that facilitate accountability to those who generally go unrecognized and unheard. This may take the form of a kind of haunting by the subaltern, understood as a persistent effort to recognize the limits of generalizations and identifications as they persistently erase their inevitable exclusions, their subalterns (Death 52-3). This notion of the subaltern challenges activists and critics to rethink the limits of recognizability for activism and revolutionary struggle. More precisely, this challenge invites us to work to build institutions and organizations that would be able to respond to the subaltern when they carry out resistance that erases the axioms and assumptions that undergird modern and/or colonizing notions of justice, democracy, gender, or class. (“In Response” 228; “Resistance”) 

Other goals for subaltern work are seen where Spivak has worked in sites where the impossibility of social mobility is accepted as normality, what might be referred to as the underside of poverty in West Bengal, India, southern Yunnan, China, and elsewhere. (“In Response” 229)  Her work consistently intervenes in this normality to carry out what she terms “the uncoercive rearrangement of desires, the nurturing of the intuition of the public sphere.” This work is to be contrasted with the modernist projects of bettering the world through poverty or disease eradication, exporting democracy forcefully, or exporting information and communications technology. (“In Response” 230) The ultimate goal of this work is “in the possibility of creating an infrastructure here as well as there which would make the subaltern not accept subalternity as normality.” (“In Response 235) Such an infrastructure is grounded in the refusal of the situational imperatives and codings of their historical conditions, as Bhaduri did, to animate alternative subjects to challenge the broader scenario of Realpolitik. (Foucault and Najibullah 149)

By refusing class apartheid and supplementing internal class relations and hegemonic institutions, this work can reject the emergence into class mobility in terms only of reproducing what Paulo Freiere called “sub-oppressors” (Foucault and Najibullah 149). Instead, subaltern work may learn how to instead practice justice that responds to the subaltern and animates alternatives as part of the wars of maneuver signaled by Gramsci. (“In Response” 232) In this conception, emerging out of the subaltern spaces blocked from access to mobility by hegemonic institutions does not mean emerging into the working class or the middle class under capitalist exploitation, as seen in sweatshops or urban prostitution. Rather this emergence is the constructive crisis of the subaltern, where former subalterns instead come into full citizenship in democratic nations that have heretofore denied them institutional rights and secular freedoms. (“More on Power/Knoweldge 45)

In this line of thinking the possibility of the subaltern operates more as a reminder or a warning when we may think we have solved a socio-political or intellectual problem, rather than as a placeholder for a particular class or group.  This warning unravels the possibility of any universalizable generalization, operating as a sort of space of difference which challenges us to enter into a relation or structure of ethics and responsibility. (“Subaltern Talk” 293) Such an ethical structure allows responses to flow both ways in the relationship, where learning may take place without presumptions about doing good from a space of cultural or material supremacy.  (“Subaltern Talk” 293)

In concrete political and ethical terms this means that activists, public critics, and researchers may pursue many different projects.  Among the many examples of such projects that Spivak has highlighted include the “persistent short-term initiatives of local self-management…against the financialization of the globe” that brings subalternity to [constructive] crisis. (“1996: Foucault and Najibullah” 156 & n. 65). Other such projects might include “developing subsistence and small- and large-market farming… for the constitution of the subject for…democratic freedom.” (“1996: Foucault and Najibullah” 157) They may also include reading and teaching in the ways Spivak has elaborated in her writing on comparative literature (Death) and pedagogy. (“Outside in the Teaching Machine”; “How to Teach”; “Explanation”)

The fruitful and constructive aspect of Spivak’s notion of the subaltern is that it directs us to give attention to the distant but necessary horizon of the end of exploitation (“Subaltern Studies” 214-5).  This moment might be variously conceived as the time when all subalterns have been brought into the circuit of parliamentary democracy (“Subaltern Talk” 307), the moment when subaltern space is undone and is no longer be inhabited demographically. This moment might also be understood as a time when customary practices have become vehicles for change (rather than markers of backwardness under capitalism), and the boundaries of class, gender, and other difference are no longer meaningful materially or intellectually. (“Subaltern Talk” 308, 295-96) Or it might be a time in the future beyond the reversals of capital logic advocated by left labor organizing or of the colonized-decolonized divide where decolonization is recognized as a misleading term. (“More on Power/Knowledge” 164) Working towards these ends make not only ethics and responsibility possible, but also a justice outside the pale of modern legal notions of the law and justice. It is this move beyond the limits of modern language and notions of the “real,” outside the travesties of modern institutions such as the state and juridical apparatuses, and dislodging Enlightenment assumptions and practices that considerations of the subaltern invites.

Subaltern further reading:

General Readings:

Chaturvedi, Vinayak, Mapping Subaltern Studies and the Postcolonial, Verso, 2000.

Cherniavsky, Eve, “Subaltern Studies in a United States Frame,” boundary 2, 23.2 (1996): 85-110.

Cooper, Frederick, “Conflict and Connection: Rethinking African History,” American Historical Review, 99.5 (1994): 1516-45.

Guha, Ranajit, A Subaltern Studies Reader: 1986-1995, Univ. Minnesota Press, 1997.

Guha, Ranajit and Gayatri Chakravorty Spivak, ed., Selected Subaltern Studies, Oxford Univ. Pr., 1988.

Kapoor, Ilan, “Hyper-self-reflexive Development? Spivak on Representing the Third World ‘Other’,” Third World Quarterly, 25.4 (2004): 627-47.

Latin American Subaltern Studies Group, “Founding Statement,” boundary 2, 20.3 (1993): 110-21.

Pandey, Gyanendra, ed., Subaltern Citizens and their Histories: Investigations from India and the U.S., Routledge, 2010. JQ220 M5 S83 2010

Poitevin, Guy, The Voice and the Will: Subaltern Agency, 2002.

Rodriguez, Ileana, ed., The Latin American Subaltern Studies Reader, Duke Univ. Pr., 2001.

Verdisio, Gustavo, “Latin American Subaltern Studies Revisited,” Dispositio/n, 25 (2005): 5-42.

Winant, Howard, “Gayatri Spivak on the Politics of the Subaltern,” Socialist Review 20.3 (1990): 81-97.

Gayatri Spivak on the Subaltern:

A.      Spivak Articles for general audiences:

“In Response,” Can the Subaltern Speak: Reflections on the History of an Idea, New York: Columbia Univ. Pr., 2010, 227-36.

"Looking Back, Looking Forward," in R. Morris, ed. Can the Subaltern Speak: Reflections on the History of an Idea (2010)

“Not Really a Properly Intellectual Response,”  in Conversations with Gayatri Chakravorty Spivak, 87-135.

“Not Virgin Enough to Say that (S)he Occupies the Place of the Other,” Outside in the Teaching Machine, 173-78.

“Resistance that Cannot be Recognized as Such,” in Conversations with Gayatri Chakravorty Spivak, 57-86.

“Subaltern Talk” interview 1996 (in The Spivak Reader), 287-308.

B.      Spivak Technical articles:

“Can Subaltern Speak?” (first given as 1983 talk without reference to Bhaduri; pub. in Wedge; then revised version pub. In Carey & Nelson, ed., Marxsm and the Interpretation of Culture—Carey & Nelson vol. version became standard; revised again in Critique of Postcolonial Reason)(repr. in Can the Subaltern Speak: The History of an Idea)

“Ethics and Politics in Tagore, Coetzee, and Certain Scenes of Teaching,” diacritics, 32.2-4 (fall-winter 2002): 17-31.

“Subaltern Studies: Deconstructing Historiography” (in The Spivak Reader).

Critique of Postcolonial Reason, 1999: Revised “Can Subaltern Speak” found in “History” chapter, esp. 269-311 (repr. in Can the Subaltern Speak: The History of an Idea)

"Scattered Speculations on the Subaltern and the Popular," _Postcolonial Studies_ (2005 (1987))

“Response to Schmitt and Poststructuralism,” Cardozo Law Review, 2001.

Death of a Discipline, Columbia Univ. Pr., 2003.

“The Politics of Translation”, Outside in theTeaching Machine, 179-200 (orig. 1992).

“Righting Wrongs” (repr. In Other Asias, 2008), esp. 43-57.

“Responsibility – 1992: Testing Theory in the Plains” (repr. In Other Asias, 2008), esp. 88-96.

"Discussion: An Afterword on the New Subaltern," in Partha Chatterjee and Pradeep Jeganathan, eds., Community, Gender, and Violence: Subaltern Studies XI (2000)

Other authors useful for understanding Spivak on the subaltern:

Devi, Mahasweta, Chotti Munda and His Arrow, Trans. and Intro., Gayatri Chakravorti Spivak, Blackwell, 2003 (1980).

---.“Draupadi by Mahasveta Devi,” Trans. and Foreword, Gayatri Chakravorty Spivak, Critical Inquiry, 8.2 (1981): 381-402.

 ---.“The Hunt,” and “Pterodactyl,”  in Imaginary Maps; s.a. Spivak preface and interviews.

---. “Stanyadini.”  (trans. Spivak, “A Literary Representation of the Subaltern: A Woman’s Text from the Third World,” in Spivak, In Other Worlds, p. 241-6)

Djebar, Assia, Fantasia: An Algerian Cavalcade, Heinemann, 1993 (1985).

---. Far from Medina, Quartet, 1994.

Rosalind Morris, ed., Can the Subaltern Speak: The History of an Idea (essay collection).

Stephen Morton, “Subaltern Studies,” Gayatri Spivak, 95-123.

Mark Sanders, “Translating Devi,” Gayatri Chakravorty Spivak: Live Theory, 38-48.

Jayanta Mahapatra

Jayanta Mahapatra
from
BIJAY KANT DUBEY
Ph.D.(D.H.Lawrence), M.A. (English, History & Political Science)
Poems published in Debonair    
Critical excerpts on new Indian English poets from my works in H.S.Bhatia's NET/SLET Guide
(From Ramesh Publishing House)

(Collected from the comment on our post on “Early Poetry: Mahapatra”

Jayanta Mahapatra as a poet is first of all a myth-maker; an imagist of a high order taking the visionary glides.Sitting by the door, he dreams to dwell far. Depicted against the backdrop of the mythico-historical background, he continues to evade us with his escapades and flights of imagination, bringing poetry closer to physics, sociology, museumlogy, art and architecture. Apart from being closer to what it brings him nearer to, feminism, bare realism and other ground realities twitch him for an expression and he really views them with an aggrieved heart.

Jayanta Mahapatra when he started writing verses in English just wrote down the imagistic lines which took the shapes of smaller poems no doubt, but the meaning was not in them nor could it be found and it is also a fact that this also remains a specialty of his his poems that these cannot be annotated even now and it may be his so-called obscurity.Whatever be that he has not written for meaning's sake, but for photography sake. A teacher of physics one has read and taught physics in classrooms, how can we expect it that he will turn to literature barely? To see it otherwise, to him, physics is poetry and poetry physics, an exchange of both.

Jayanta as a poet is first of all an Odia writing in English rather than anything else in his allegiance and loyalties and even if an Indian that too later on; an Odia poet writing about the Odia things and the demography and cartography of Odisha. A poet of Odisha, its hills, rivers, sea coasts, beaches, forest reserves, bird sanctuaries, rocks, stones and temples, his mind cannot dwell anywhere rather than Orissa and Orissan landscapes. Cuttack, Puri, Bhubaneswar, this is the periphery of his poetry and he moves around these. The rock-built temples of Orissa, the Lingaraj temple, the Khandagiri caves, the Dhaulagiri stupa, the Jagannath temple and the Konark sun-temple take the canvas away from him and he seems to photograph them in his full myth-making.

Today we call him a modernist, a post-modernist or a post-colonialist, but the there is no truth in these statements as because when he started to write, nothing was in his mind, just to be a writer was the prospect. There was none to write and stake a claim and it was also true there was none to judge and those who attempted were too sure of they were going to end up as smaller poets and poetesses.

Light and darkness basically form the basis of his imagery and he draws from and discusses in and with which the origin of the universe is connected with, where does light break forth, where does it retreat to?

There is not one single aspect of his poetry. There are so many things and aspects of his poetry and he is so many at one go. A poet, visionary, thinker, dreamer, he is existential, nihilistic, realistic, symbolical, mythical, imagistic, feministic at the same time when we take up. His poetry is a poetry of absurdism. He writes the poetry of the absurd. A poet of rains, rites and waiting, he is very confusing as he confuses the readers with his very idea of the shadow space and random descent.

Jayanta Mahapatra as a poet is a dreamer, a visionary, a philosopher and a thinker apart from being mythico-historical, existential, nihilistic and absurd. The physics departmental stuffs are the things of his deliberation. If physics be his subject, how to expect for something different from, how to negate the influence of astrophysics together with that, which one can come to feel it indirectly? When he talks of the space and an uncertain tomorrow ever-coming, ever-changing or the same dawn-break breaking forth and bundling out, retreating with the glow of the twilight and vanishing in the dusk, he seems to be drawing close to that basics of study. Jayanta Mahaptara’s poetry is inclusive of many a thing, as for example, dream, vision, image, myth, mystery, symbol, history, art, tradition, belief, motif, trend and tradition; society, art, culture, religion, philosophy and spirituality. A poet of the Oriyas, he cannot help without thinking about them. The defeat and bloodshed of the innocent Oriyas into the hands of King Ashoka he has not forgotten them and the fall of the Kalinga. He dreams of, when will Kalinga rise again? This is the historical and regional background against the backdrop of which he reminisces and visualizes. To see it in this context, he is like Thomas Hardy and D.H.Lawrence depicting Wessex and Nottinghamshire and this the locale of his poetry, call it regional, national or international. D.H.Lawrence too has written a book named Etruscan Places as has Khushwant Singh on the history of the Punjab. Similar is the case with Jayanta Mahapatra, the Odia poet in an English garb. Wherever goes he, the dreams’ and the images of Odisha leave him not behind. An Oriya Christian, he has lots to talk about the great famine during which his grandfather converted to Christianity. He can tell about the ten-armed clay idol of Bhagavati with the light in the eyes and the sad immersion of it; the lingam-yoni motif and the yoga-yoginis. People may question with regard to Nissim Ezekiel and his identity, but can never him as he is first of all an Odia then an Indian, but fame came to him internationally first then nationally. Before getting awards here, he had made a way into the West as for his first introduction with the audience.

He is difficult as for that he plays with word, meaning and image. Basically, his verses are frolicking into the hands of imagery and photography. Everything is but based on supposition and conjecture as these leave no room unturned for anything else to delineate upon. Had it been so, what would it have happened? Had it been not, what would it have? The places where there are houses upon would have been one day with the hills over that particular space.

Nothing is what it seems to be and what it seems to be is nothing in respect of Jayanta Mahapatra and his poetry. Just the pencilled images, silhouetted, sketched and drawn are the things of his portrayal. To pick up Shakespearean and Hardyian terms to state it, men as walking shadows and puppets into the hands of destiny are some of the points; purviews of his depiction. His poems are just for to see, glimpse through, the pages to turn over and flit by, not to make out for a meaning as they mean it not. In a single poem he crams so many fleeting images, gliding and slipping past. Why are we,/ who can say it? What is this existence, who can but answer it? Though the poet does not raise these questions, but it appears to be after a study of his poetry that he seems to be making us think about that. He is terse and obscure as for the flimsy existence of light and darkness, the words picked up from an uncommon stock, imagery doing the rounds to owe to. His imagery and language make him obscure and this is the ground for which the critics call him modern, post-modern and post-colonial. As it is difficult to define light and darkness, to tell about the composition of them, the main ingredients and constituents of them so is the case with this poet delving into, a poet of the morning serene and sedate, full of tranquil silence, still arising from, awaking with the lotuses blooming and the sun flashing upon with the glimmering of its own impress him otherwise to be called a poet of silence and this is the Wordsworthian quality which enriches him. But he is differently aware of. Sometimes he contrast and compares the dawn-time, drawing from the scavenger women going to throw off excreta.

As a poet, he is mythical, imagistic, symbolical, mystical, artistic and bodily too when he talks of the twitches of the intriguing body and man-woman relationship envisaged on the walls of the Konark sun-temple and the carvings on it, the erotic sculptures in sex, love, romance and relationship, rounding about the Indian philosophy of dharma, artha, kama and moksha. Something of the man and his mind seen in the makers and workers too is evident on these. The good wife’s siesta by his side dreaming the noonday dreams, oblivious of the chants of the burning ghats far away, the summer noon hot, perspiring and wet with, he clutches them along the varied imagery and description in the same poem. He is a visionary who goes dreaming against the backdrop of the rock-built temples. All the time he keeps thinking about the glorious past of it, the times of the making of the rock-built temples and the architects and makers at work, we mean the construction site. The overtones and undertones of the Vedic hermitage full of Vedism, Upanishadism and Puranism continue to hold their sway over Mahapatra and we overhear them in the incantatory voice, the chorus coming down from the temples and this contributes to the mythic base of his poetry. The beauty of ancient India we can feel it in its splendor and magnificence.

The poet is a naturalist and a conservator when he talks of the Olive Ridley turtles, the Chilika bird-sanctuary and the moving of crocodiles into the waters at midday during the summertime and this draws him close to eco-criticism and eco-appreciation of poetry. Can poetry be written at the cost of existence, when our survival will be itself in danger? The sun burnt earth and the dark hamlet with the nameless woman waiting for the coming of her husband with an oil lamp into her hands has many a tale to tell about the Indian countryside. The pains of life and living namelessly are untold. Life is very slow, dull and dreary in the countryside. The peepul tree, the banyan tree and the mango orchards save the villagers from heat and dust during the long summers and the unknown mother and daughter seeing into the hair and waiting for the drop of a mango adds to the story. Which astrologer can predict the poor lot of the poor girl-child of India? The pains of his heart none has come to understand it. What has this freedom given to us? Has poverty been eliminated, eradicated? Still the tales of hunger have been doing the rounds. Poverty keeps quarrelling in the shanty; Poverty as Poor Daughter keeps sucking the breast of Mother Malnutrition. What more do we want to hear? Dowry deaths, female feticide, gender bias, atrocities against women, domestic violence, rape, murder and torture maraud the humble self of the poet and he seems to be helpless to dispense with them.

What is poetry to Mahapatra, if somebody asks it, how to answer? Poetry is photo-negatives; Orissan landscapes, a peep into Oriya life, culture, thought, philosophy and society. Poetry is a dip in nothingness, existentialism, agnosticism, faith and doubt. Why is this waiting? What do we wait for and what does it turn up finally? Is life a waiting and man keeps waiting for it life-long? To see it otherwise, Jayanta’s poetry is a study in Samuel Beckett’s Waiting For Godot. Who is this Godot? Even Samuel Beckett cannot say it. What to say of Jayanta Mahapatra who keeps turning poetry into physics, even going to the extent of deriving and drawing from light and darkness and the origin of the universe?

A catalogue of his books may furnish with more details:

Close the Sky, Ten by Ten, Dialogue Publication, Calcutta,1971, Svayamvara and Other Poems, Writers Workshop, Calcutta, 1971, A Father’s Hours, United Writers, Calcutta, 1976, A Rain of Rites, University of Georgia Press, Athens (USA), 1976, Waiting, Samkaleen Prakashan, New Delhi, 1979, The False Start, Clearing House, Bombay, 1980 , Relationship, Greenfield Review Press, Greenfield, New York 1980, Life Signs, Oxford University Press, New Delhi, 1983, Dispossessed Nests, Nirala Publications, Jaipur,1986, Selected Poems, Oxford University Press, New Delhi, 1987, Burden of Waves and Fruit, Three Continents Press, Washington, 1988, Temple, Dangaroo Press, Sydney, 1989, A Whiteness of Bone, Viking Penguin, New Delhi, 1992,The Best of Jayanta Mahapatra, Bodhi Publications,Calicut, 1995, Shadow Space, D.C.Books, Kottayam, 1997, Bare Face, D.C.Books, Kottayam, 2000Random Descent, Third Eye Communications, Bhubaneswar,2005,The Lie of Dawns: Poems 1974-2008, Authorspress, New Delhi, 2009

The books of Jayanta Mahaptra have appeared from both, big and small presses. If we talk about the first book of poems, it is a slim volume which follows the course of its own. There is nothing to delve deep, but instead of it, morning shows the day is the thing to be marked in here. Mainly the shorter and simpler, but meaningless poems figure in it and they can make sense if related to with references.

If Night of the Scorpion by Nissim Ezekiel is a poem of Hindu-view karma, dharma and bhoga, Jayanta Mahapatra’s Dawn at Puri is a poem of some asthi-kalsha and pinda-dana combined with will and testament of Jawarharlal Nehru. This is as because the poet’s mother wishes to be cremated on the sea beach near the temple complex as Puri is the swarga-dwara, the gateway to heaven and it might have made her move along the Hindu line. We do not know what it has happened to her as she is perhaps a Christian. The pyres burning on the sea beach adjacent to the Great Temple, the Jagannath Puri temple, a little away from, scenic and landscapic tell many a tale against the backdrop of the temples, the sea and the lacklustre widows past their centre of hectic activity and the formless lepers beyond recognition. Nissim and Daruwalla also refer to them in their poems. Service to man is service to God corrodes the base of faith and belief. The things seen through the dawn scenery against the backdrop of life and death, faith and doubt belittle it all and we turn into a skeptic. Faith like light too is frail as this human body of the helpless widow is in reality.

‘Svayamvara and Other Poems’ as a collection of poems made a way after Close the Sky, Ten by Ten from Writers Workshop, Calcutta in 1971 when Jayanta Mahapatra had been a teacher of physics traching at Ravenshaw College, Cuttack. Though the book is no variation from his as usual style, it is essential to record as for his growth and development as a poet. We do not know if the editors pick up from Close the Sky, Ten by Ten or Svayamvara and Other Poems. Peace, For a Displaced Season, Blind This World,

A Kind of Love, Sonnet, Sometimes, Morning, Awareness, A Point of View, Betrayal, The Marriage Portrait, Apartment, At The Zoo, Love’s Caress, Where Does Night Begin?, Bells, The Bride, Traditions, Svayamvara, Between, Bones, Sun Worshipper, Child and Teacher, Traffic Constable, Intimacy, Faith, Poem, The Poster, My Boy, Blind Singer in a Train, Henry the Robot/ A Theme of Love, A Name,

Poem (For R.M.) ,etc. are the poems included in it. Whatever be the theme of the poem, but he has not left his love of imagery and imagism, lyric and lyricism, so private and personal, so delving into the realms of nothingness, the space and the vacuum, the things of his perusal.

As Jayanta Mahapatra has evolved today so the people are after Close the Sky, Ten by Ten and Svayamvara and Other Poems. Generally, the readers do not attach any importance to the first entries. But it is easier for the Indian English poets even after their first publications. Those who are going to write first poems also pressure for to be called poets and poetesses. The first anthology which P.Lal edited will show the things in a very poor light. Even Nissim too had not been established in the sixties. Jayanta’s name does not figure in the anthology of poems edited by V.K.Gokak.

Jayanta Mahapatra as a poet is not one who comes from the field of literature, whose business will be emotion and feeling as the cheap sentiment of his, but is a physicist, a professor of physics writing in English.To see it from his discipline of study, physics is his poetry and he has found his theme in physics, the branch of it called astrophysics, light and darkness chapters. The history of the origin of universe is the thing of his deliberation. What it is today will not be tomorrow. Where does light break forth and where does it retreat back to? Who can answer all these questions, the things of the fickle and unconscious mind? Everything is but in a flux; ever-changing state. If this be the state of the things, what to say it more? Imagery is the chief tool of his and he keeps working.

UGC-IMP Expected Question

Expected Questions:

• Bohemia is a place in The Winter's Tale 
• Cervantes full name-Miguel de Cenvantes 
• Letter described in The Scarlet Letter-A
• In Scotish Folklore, The appearance of a BONSHEE means Death 
• Comus is god of Relevery 
• To Johnson BLANK VERSE is only Verse to Eyes 
• NEW-HISTORICIM coined by Stephen Greenblatt 
• Plutarch called poet :Right Popular Philosopher"
• Johnson founded Literary Club in 1764 
• novel Tom Jones contains 18 books 
• Spectator Paper was daily periodical 
• poem The Bard is by Gray
• Kennings mean picturesque compounds used by Old Eng poets. They have metaphorical quality, ie SEOWOOD used for ship & PEACE WEAVER for Women
• Postcolonial writers revision history, & negotiate with & subvert Euro-American  ideologies & representations 
• *Poem "Sir Gawin and the Green Knight" by anonymous or "The Pearl Poet." Rhyme: ABABA: Stanzas:101. It begins in CAMELOT on New Year's Day.
• *Literary term SENSUOUSNESS related to John Milton 
• *Raja Ram Mohan Rai(Brahma Samaj) is father of Indian Renaissance in English Literature.
• Gibbon's THE DECLINE AND FALL OF ROMAN EMPIRE begins with The Reign of Trojan in AD-98 & ends with Fall of Bynanstine Empire in 1453 
• Caxton starts Printing Press & Guttenburg gives Art of Printing.Today no Caxton Press but Guttenburg is working with name Guttenburg Project (Name are different. For more info check by self)
• The only instance of Comedy during Romantic Age is OEDIPUS TYRANNUS or SWELLFOOT THE TYRANT by Shelley.
• Full Title:  "The Defence of Poesie, Political Discourses, Correspondence and Translation"  by Philip Sidney
• Full Title: "The Countess of Pembroke's 'Arcadia': Volume 4: Being the Original Version"  by  Philip Sidney
• Wordsworth shows death of his two brothers Captain & Nelson with words "Character of the Happy Warrior" in poem "Immortaliy Ode."
• Francis Bacon's words are known as "Knowledge is power" 
• World Drama Day is March 25 
• VS Naipal wrote the Book "The Mask of Africa"
• "A Dramatic Poem in Humble Imitation of THE WINTER'S TALE of Shakespeare" is subtitle of poem ZAPOLYTA (1817) by Coleridge (1772-1834)
• Fable:short story esp about animals withMoral,ie,Fox&Grapes 
• Epic:A long narrative poem of heroic event 
• Epigram:A short saying full of wit
• In Memoriam contains 131 lyrics
• Phrase I' art por I's art (art for art's sake) was coined in year 1804 
• The Swan was a theatre in Southwark, London, England, built in 1595. It was the fourth in the series of large public playhouses of London.
• Wordsworth,Coleridge,Southey are called Lake school by Francis (afterward Lord) Jeffrey in The Edinburgh Review, Aug 1817 or Lakers by Byron
• Full Title--Areopagitica: A Speech of Mr. John Milton For the Liberty of Unlicensed Printing To the Parliament of England (1644)  by Milton
• When Blake says that in Paradise Lost "Milton was at Devil's party without knowing it" The Romantic Age enters into the Criticism.
• On 21Jan, 1789 The first American novel, The Power of Sympathy or the Triumph of Nature Founded in Truth, is printed in Boston, Massachusetts.
• Boris Pasternak (1958)& Sartre (1964) are two writers who rejected Nobel Prize for Lit (Pasternak son received it in 1989 after his death)
• "To Connect" related to Foster 
• Eliot influenced by Indian Philosophy
• The Novelist Esther David (English)has been chosen for Sahitya Academy Award 2010. 
• Jnanpith Award is highest literary award in India. It carries Rs700000 & bronze replica of Saraswati goddess. Not include English Language
• Naquib Mah Fouz(1911-2006) was first Arabic Nobel Prize Winner for Lit 1987,Egypt 
• Tony Morrison (1931)First African Black, 1993
• In 1688 Dryden refused to take oaths of allegiance so dismissed by William III & Mary II from post Poet laureate. Only Dismissed Laureate
• More's Utopia (1516)describing a fictional island in the Atlantic Ocean, was translated in 1551 by Robinson. (title) Title Translation 
• A Truly Golden Little Book,No Less Beneficial Than Entertaining,of the Best State of a Republic,&of the New Island Utopia
• Totells Miscellany comes in 1557, one year before Elizabeth come to Throne 
• Real name of Earl of Surrey is Henry Howard

Making of the Subaltern in India: Jyoti Agrahari

Source: http://museindia.com/regularcontent.asp?issid=34&id=2313

Making of the Subaltern in India: Jyoti Agrahari

The groundbreaking text Orientalism written by Edward Said has widened the arena for the post-colonial thinkers to consider the text with a new mechanism in Third World context.Orientalism has developed a purported approach of binary opposition to dismantling the East/West dualism in relation to Eurocentric edifice. The focal point of Said's study is the 'West' and its observation of the 'East'. The former having all positive traits: white, brave, dynamic, civilized, cultured, educated, rich of the 'Empire' identifies the 'Eastern countries' as the 'Other' with all the negative attributes: black, coward, static, barbaric, natural, uneducated poor people of the 'Colony' - subjected to their contempt. The post-colonial intellectuals challenge the Eurocentric view by drawing the attention towards the 'people' of the 'decolonized nations' in which the 'Other' belonging to the elite or bourgeoisie sections of the society emerges as the neo-colonizers to exploit its other (the subaltern or other’s other) who are inferior to them in terms of caste, class, office and gender.

Post-colonial India has taken a lead in probing the issue of subaltern in all the existent field of knowledge. It has promoted the interdisciplinary researches clubbing history, economics, politics, psychology and anthropology to re-read those dynamics of Indian civilization and history that caused and perpetuated the regime of an unequal society. Initially the term 'subaltern' was a military term used to refer to the officers under the rank of captain. The Italian Marxist Antonio Gramsci, in the Prison Notebooks used the term to refer to the unorganized groups of rural peasants based in Southern Italy, who had no social or political consciousness as a group and were therefore susceptible to the ruling ideas, culture and leadership of the state. (Morton 2007, p. 48) In its current usage drawn from Gramsci, Ranajit Guha with other Subaltern Studies Historians have employed the term for all those who are at the lowest in terms of class, caste and gender and thus the 'people' become the central point of contention in the cultural studies across the world.