ORCID Profile
0000-0002-0193-9736
Current Organisation
Murdoch University
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Publisher: Informa UK Limited
Date: 18-05-2009
Publisher: SAGE Publications
Date: 12-2012
Abstract: This essay deals with the manner in which Salman Rushdie’s works engage with the heterogeneous logics of ethics and aesthetics. Drawing upon the work of Jacques Rancière it is argued that Rushdie neutralizes the two by introducing what Rancière calls a dissensus in the ethical-aesthetic hierarchy. The dissensus works on a principle of ‘excess’ so that within the domain of aesthetics the ethical is pushed to its limits. The order of desire (aesthetics) and the order of knowledge (ethics) are no longer seen as hierarchical and mutually exclusive categories. By examining two versions of an unpublished novel by Rushdie (‘Madame Rama’) it is suggested that Bollywood cinema functions as a mode in which the two orders come together. In this early and mercifully unpublished novel, one finds the beginnings of Rushdie’s belief that works of art are sites of ideological and ethical contestations.
Publisher: SAGE Publications
Date: 12-2017
Abstract: William Elison, Christian Lee Novetzke, and Andy Rotman, Amar Akbar Anthony: Bollywood, Brotherhood, and the Nation. Cambridge, MA: Harvard University Press, 2016, 334 pp., US $46.50 (Hardback), ISBN: 978-0-674-50448-6
Publisher: Oxford University Press (OUP)
Date: 2002
DOI: 10.1093/YWCCT/MBF014
Publisher: Informa UK Limited
Date: 06-1987
Publisher: Informa UK Limited
Date: 1988
Publisher: Project MUSE
Date: 1996
Publisher: SAGE Publications
Date: 24-07-2021
DOI: 10.1177/1329878X211010778
Abstract: In 1993, the University of Tulsa purchased the V S Naipaul papers and installed the V S Naipaul Archive, principally a paper archive, a year later. In this essay, which is also a homage to the late Professor Tom O’Regan, I examine the value of archives, a scholar’s use of them and the ‘Freudian impressions’ or latent texts embedded in in them. Although once established an archive can acquire mystical power, in reading it, one has to be conscious of processes of selection and redaction built into the archive. One ‘Freudian impression’ that requires attending to is the role of Naipaul’s first wife Patricia Naipaul in the growth of the writer’s craft. The archival evidence suggests that his best works were written while she was alive.
Publisher: Manchester University Press
Date: 27-03-2017
DOI: 10.7228/MANCHESTER/9781784992699.003.0013
Abstract: This chapter maps the received tradition of the Gothic on to the Bollywood Gothic noir. The tradition, it is argued, as it comes to India, is mediated by both the literary Gothic and the pervasive power of the Hollywood film and Gothic noirs. The form that the Bollywood Gothic noir takes is a function of a compromise as the received Western literary and filmic Gothic is deployed to articulate a specifically Hindu narrative of reincarnation. Whereas the idea of an afterdeath in the Western Gothic carried as its basic affect the concept of the uncanny and was alarmingly anti-redemptive, reincarnation narrative postulated that the uncanny was a pre-given capable of recall. However, the presence of the filmic and the literary Gothic as part of a world-literary system now disturbs the seamless and affirmative narrative of Hindu reincarnation by introducing the darker side of karmic retribution.
Publisher: Oxford University Press (OUP)
Date: 18-06-2008
DOI: 10.1093/YWCCT/MBN001
Publisher: Oxford University Press (OUP)
Date: 2011
DOI: 10.1093/YWCCT/MBR005
Publisher: Informa UK Limited
Date: 28-07-2015
Publisher: Oxford University Press (OUP)
Date: 2009
DOI: 10.1093/YWCCT/MBP007
Publisher: Informa UK Limited
Date: 09-1980
Publisher: Project MUSE
Date: 2009
DOI: 10.1353/NLH.0.0087
Publisher: Cambridge University Press
Date: 08-07-2015
Publisher: Cambridge University Press
Date: 2018
Publisher: Informa UK Limited
Date: 1993
Publisher: Oxford University Press (OUP)
Date: 27-05-2007
DOI: 10.1093/YWCCT/MBM017
Publisher: Oxford University Press (OUP)
Date: 2005
DOI: 10.1093/YWCCT/MBI013
Publisher: Informa UK Limited
Date: 1998
Publisher: Oxford University Press (OUP)
Date: 2002
DOI: 10.1093/YWCCT/MBE013
Publisher: Informa UK Limited
Date: 03-04-2014
Publisher: Informa UK Limited
Date: 06-1989
Publisher: Oxford University Press (OUP)
Date: 2003
DOI: 10.1093/YWCCT/MBG013
Publisher: Informa UK Limited
Date: 12-1996
Publisher: Informa UK Limited
Date: 12-2011
Publisher: Informa UK Limited
Date: 11-1977
Publisher: Informa UK Limited
Date: 09-1978
Publisher: Informa UK Limited
Date: 06-0006
Publisher: SAGE Publications
Date: 27-07-2016
Abstract: Strictly speaking, annotations do not belong to the discipline of bibliography, that is, if we follow its reading by three of the masters of the discipline: Ronald B. McKerrow, W. W. Greg and Fredson Bowers. Bibliography, in their definitions, is a scientific activity aimed at the construction of text as a “material” object. It has guiding principles that govern the quest for the “definitive” text where words are primarily iconic or indexical signs. To gloss words and sentences in support of a variant reading is a necessary evil, not something which is part of its formal principles. If textual bibliography were to accommodate some notion of annotations, as “bibliograhie de l’érudit”, then we need to make a case for annotation as an essential feature of the bibliographer’s exercise. This essay declares the legitimacy of annotation because it establishes the value of words well beyond the iconic or the indexical (the hitherto definition of the bibliographer’s object of reading). To explore this the article examines the use, in particular, of “numerology” in Salman Rushdie, annotates at length four numbers, and makes a case for their value in the organizational and thematic patterns of his novels. It is argued that numbers are also part of Rushdie’s interest in “affects” insofar as for Rushdie numbers are prior to cognition, they pre-exist consciousness and are not so much created as discovered. They also enter into the affective domain of being and are signs of the body’s visceral intensities as well as an index of its nonvolitional proclivities. In making the annotations the essay also explores the importance of intercultural annotations by giving the ex le of pre-colonial Indian scholarship.
Publisher: Informa UK Limited
Date: 03-04-2015
Publisher: Oxford University Press (OUP)
Date: 2010
DOI: 10.1093/YWCCT/MBQ009
Publisher: Wiley
Date: 15-04-2011
Publisher: Oxford University Press (OUP)
Date: 05-07-2006
DOI: 10.1093/YWCCT/MBL017
Publisher: SAGE Publications
Date: 13-01-2017
Abstract: The article examines two unpublished novels and a TV script by Rushdie deposited in the Emory University Salman Rushdie Archive. Its aim is to offer an analysis of the contents of these unpublished works as well as to theorize their status with reference to fair copies of texts that do not have their corresponding published versions. Against Rushdie’s own declaration that these works were “garbage”, ephemeral material unworthy of circulation in the public domain, and certainly not useful to him as signposts of paths taken towards the composition of his more artistically accomplished works, the paper suggests unpublished fair copies have both intrinsic and textual value. As texts in potentia they require a theoretical model that would read them as text qua text and not as fair copies to be compared to their published versions.
Publisher: Informa UK Limited
Date: 21-08-2014
Publisher: Oxford University Press (OUP)
Date: 2004
DOI: 10.1093/YWCCT/MBH013
Publisher: Oxford University Press (OUP)
Date: 2013
DOI: 10.1093/YWCCT/MBS020
Publisher: Informa UK Limited
Date: 12-1991
Publisher: Informa UK Limited
Date: 10-1989
Publisher: SAGE Publications
Date: 06-07-2015
Abstract: The idea of postcolonialism as signifying a break from the past, as the sign of the new, as a critical reappraisal in the context of imperialism and the rise of capital, and as a register of social and political assertiveness took shape as major geo-political changes were underway (the Iranian Revolution, the gradual decline of the Soviet Union, and so on). However, by 2006 when the word finally entered the OED, the citation and the definition embedded in it captured an important shift: “postcolonialism” as a proactive cultural logic aimed at the creation of an intentional object. The critical survey undertaken here suggests that the discourse of postcolonialism is now an intentional discourse with specific affects. These affects, as seen in the Anglophone bibliography on the subject of these past five years, may now be examined with reference to subjects and themes as varied as melancholia, shame, the horrors of poststructuralism, creolization, the vernacular, the cosmopolitan turn, the postcolonial “jew”, the subaltern challenge, global warming, world-literary systems, traumatized bodies, among others.
Publisher: Cambridge University Press
Date: 23-08-2007
Publisher: Oxford University Press (OUP)
Date: 05-1985
Publisher: Oxford University Press (OUP)
Date: 2001
No related grants have been discovered for Vijay Mishra.