Search results for: canon

Authors: Raja Lahiani

Abstract:

'Locksley Hall' is a poem that Lord Alfred Tennyson (1809-1892) published in 1842. It is believed to be his first attempt to face as a poet some of the most painful of his experiences, as it is a study of his rising out of sickness into health, conquering his selfish sorrow by faith and hope. So far, in Victorian scholarship as in modern criticism, 'Locksley Hall' has been studied and approached as a canonical Victorian English poem. The aim of this project is to prove that some strategies of translation were used in this poem in such a way as to guarantee its assimilation into the English canon and hence efface to a large extent its Arabic roots. In its relationship with its source text, 'Locksley Hall' is at the same time mimetic and imitative. As part of the terminology used in translation studies, ‘imitation’ means almost the exact opposite of what it means in ordinary English. By adopting an imitative procedure, a translator would do something totally different from the original author, wandering far and freely from the words and sense of the original text. An imitation is thus aimed at an audience which wants the work of the particular translator rather than the work of the original poet. Hallam Tennyson, the poet’s biographer, asserts that 'Locksley Hall' is a simple invention of place, incidents, and people, though he notes that he remembers the poet claiming that Sir William Jones’ prose translation of the Mu‘allaqat (pre-Islamic poems) gave him the idea of the poem. A comparative work would prove that 'Locksley Hall' mirrors a great deal of Tennyson’s biography and hence is not a simple invention of details as asserted by his biographer. It would be challenging to prove that 'Locksley Hall' shares so many details with the Mu‘allaqat, as declared by Tennyson himself, that it needs to be studied as an imitation of the Mu‘allaqat of Imru’ al-Qays and ‘Antara in addition to its being a poem in its own right. Thus, the main aim of this work is to unveil the imitative and mimetic strategies used by Tennyson in his composition of 'Locksley Hall.' It is equally important that this project researches the acculturating assimilative tools used by the poet to root his poem in its Victorian English literary, cultural and spatiotemporal settings. This work adopts a comparative methodology. Comparison is done at different levels. The poem will be contextualized in its Victorian English literary framework. Alien details related to structure, socio-spatial setting, imagery and sound effects shall be compared to Arabic poems from the Mu‘allaqat collection. This would determine whether the poem is a translation, an adaption, an imitation or a genuine work. The ultimate objective of the project is to unveil in this canonical poem a new dimension that has for long been either marginalized or ignored. By proving that 'Locksley Hall' is an imitation of classical Arabic poetry, the project aspires to consolidate its literary value and open up new gates of accessing it.

Keywords: comparative literature, imitation, Locksley Hall, Lord Alfred Tennyson, translation, Victorian poetry

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Authors: Luci V. Hyett

Abstract:

The criminal law of England and Wales currently deems that a person cannot consent to the infliction of injury upon their own body, where the level of harm is considered to be Actual or Grevious. This renders the defence of consent of the victim as being unavailable to those persons carrying out an Alternative Body Modification procedure. However, the criminalization of consensual injury is more appropriately deemed as being categorized as an offense against public morality and not one against the person, which renders the State’s involvement in the autonomous choices of a consenting adult, when determining what can be done to one’s own body, an arbitrary one. Furthermore, to recognise in law that a person is capable of giving a valid consent to socially acceptable cosmetic interventions that largely consist of procedures designed to aesthetically please men and, not those of people who want to modify their bodies for other reasons means that patriarchal attitudes are continuing to underpin public repulsion and inhibit social acceptance of such practices. Theoretical analysis will begin with a juridical examination of R v M(B) [2019] QB 1 where the High Court determined that Alternative Body Modification was not a special category exempting a person so performing from liability for Grevious Bodily Harm using the defence of consent. It will draw from its reasoning which considered that ‘the removal of body parts were medical procedures being carried out for no medical reason by someone not qualified to carry them out’ which will form the basis of this enquiry. It will consider the philosophical work of Georgio Agamben when analysing whether the biopolitical climate in the UK, which places the optimization of the perfect, healthy body at the centre of political concern can explain why those persons who wish to engage in Alternative Body Modification are treated as the ‘Exception’ to that which is normal using the ‘no medical reason’ canon to justify criminalisation, rather than legitimising the industry through regulation. It will consider, through a feminist lens, the current conflict in law between traditional cosmetic interventions which alter one’s physical appearance for socially accepted aesthetic purposes such as those to the breast, lip and buttock and, modifications described as more outlandish such as earlobe stretching, tooth filing and transdermal implants to create horns and spikes under the skin. It will assert that ethical principles relating to the psychological impact of body modification described as ‘alternative’ is used as a means to exclude person’s seeking such a procedure from receiving safe and competent treatment via a registered cosmetic surgeon which leads to these increasingly popular surgery’s being performed in Tattoo parlours throughout the UK as an extension to other socially acceptable forms of self-modification such as piercings. It will contend that only by ‘inclusive exclusion’ will those ‘othered’ through ostracisation be welcomed into the fold of normality and this can only be achieved through recognition of alternative body modification as a legitimate cosmetic intervention, subject to the same regulatory framework as existing practice. This would assist in refocusing the political landscape by erring on the side of liberty rather than that of biology.

Keywords: biopolitics, body modification, consent, criminal law

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Authors: Biva Samadder, Samita Manna

Abstract:

India is a melting pot of races, tribes, castes and communities. The population of India can be roughly branched into the huge majority of “Civilized” Indians of the Plains and the minority of Tribal population of the hill area and the forest who constituting almost 16 percent of total population of India. The Kirat community composed of four ethnic tribes: Limbu, Lepcha, Dhimal, and Rai. These Kirat people were found to be rich in indigenous knowledge, skill and practices especially for the use on medicinal plants and livelihood purposes. The “Mundhum" is the oral scripture or the “Bible of the Limbus” which serves as the canon of the codes of the Limbu socialization, their moral values and the very orientation of their lifestyle. From birth till death the Limbus are disciplined in the life with full of religious rituals, traditions and culture governed by community norms with a rich legacy of indigenous knowledge and traditional practices. The present study has been conducted using both secondary as well as primary data by applying social methodology consisting of the social survey, questionnaire, interviews and observations in the Kalimpong Block-I of Darjeeling District of west Bengal of India, which is a heterogeneous zone in terms of its ethnic composition and where the Limbus are pre-dominantly concentrated. Due to their close contact with other caste and communities Limbus are now adjusted with the changing situation by borrowing some cultural traits from the other communities and changes that have taken place in their cultural practices, religious beliefs, economic aspects, languages and in social roles and relationships which is bringing the change in their material culture. Limbu language is placed in the Tibeto- Burman Language category. But due to the political and cultural domination of educationally sound and numerically dominant Bengali race, the different communities in this area forced to come under the one umbrella of the Nepali or Gorkhali nation (nation-people). Their respective identities had to be submerged in order to constitute as a strong force to resist Nepali domination and ensure their common survival. As Nepali is a lingua-franca of the area knowing and speaking Nepali language helps them in procuring economic and occupational facilities. Ironically, present day younger generation does not feel comfortable speaking in their own Limbu tongue. The traditional knowledge about medicinal plants, healing, and health culture is found to be wear away due to the lack of interest of young generation. Not only poverty, along with exclusion due to policies they are in the phase of extinction, but their capabilities are ignored and not documented and preserved especially in the case of Limbus who having a great cultural heritage of an oral tradition. Attempts have been made to discuss the persistence and changes in socioeconomic pattern of life in relation to the social structure, material culture, cultural practices, social relationships, indigenous technology, ethos and their values and belief system.

Keywords: changing social relationship, cultural transition, identity, indigenous knowledge, language

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