Power And Effect Language In Imayam

Writing can present a lot of messages to it readers and audiences. It conveys a message that allows one to see what is their role and identity in society. The way they convey their message is by presenting their own language into their writing.The use of language in writing creates and identity in the act or experience of writing. As it is shown in the text How it feels to be forcibly fed by Djuna Barnes, The Shawl by Cynthia Ozick, and Tlilli, Tlapalli/ The path of the Red and Black Ink by Gloria Anzaldua.

The narrator of the story, i.e. the protagonist, is a brave female who immigrated to America, expecting to have many opportunities and thus, leading a better life. However, little did she know about the prevailing division of social class in the country, which determines the harsh realities of life as a member of the lower-class. And once she realizes that she is bound by her social status to follow the unwritten rules determined by the upper class, she becomes overwhelmed with the feeling of helplessness, a feeling which is not only felt by her, but also by all lower-class people. Throughout the story, the narrator portrays a sharp contrast between her life style, which represents the working class, and the upper

The literature around the world has different types of authors and each one of them with his own writing style. The period where they live affects their style because the writers are exposed to different circumstances and factors. The arrival of the Islamic religion influenced the Indian poetry. This changed the way how they thought and expressed through poetry, and according to K. S. Ram “The two important factors in the world of Kabir [post Islamic poet] (XV century) were: one, the change of the Vedantic religion dry, abstract intellectualism; and two, the fights between Hindus and Muslims had become a sad fact of everyday life.”. This essay will be focused on a comparison and contrast about the Indian poetry before and after the Islam.

The caste system, which was evolved throughout 1612-1947 due to British colonisation, supresses the majority of India’s citizens through a rigid, hereditary social hierarchy; this is especially evident to the 180 000 000 citizens trapped as Dalits, commonly known as Untouchablesheyya. Balram uses simple allegories to describe to Western Readers how the oppressed castes are “the flesh and organs of a recently chopped up chicken”heyya. Therefore it is evident how Balram uses the image if a rooster coop to represent how Indians are trapped and exploited through their castes. There is a lack of freedom for citizens, as any movement to step out of their caste leads not only to the punishment of the individual, but also to the punishment of their relations. This strict rule of government has created fear within India, “They do not rebel. They do not try to get out of the coop”heyya. Up to this point, it is possible for readers to neglect the correlation between the roosters and the citizens of India. Adiga works to display the oppression of the chickens, as “the same thing is done with human beings”heyya. The imagined allegory, which before was nothing more than a concise metaphor, is now directly used to represent the reality of India’s caste oppression. However, it is important to note that Balram does not fully criticize this theory, as he believes the lower classes

I don’t recall a specific moment in my life when literature became such an express full self-empowering art form. Nor can I remember a passage that could have struck a match that would light a fire in my soul, in which would then resonate a deep passion for the art of writing. All I know, is that one day, for some reason, I just wanted people to know how and feel what I felt. I wanted them to view my writings, starting from my name in the heading, to the very last punctuation mark of my conclusion paragraph, and be left yearning for more. When I write, I have the ability to give life to the thoughts I keep hidden and allow the world to hear my voice I keep silent.

The essential purpose we write is to speak with others, to empower interaction with others or expression from the reader (Ramji, 2016). We may likewise exploit writing to help us to ponder our encounters and accomplish the positive out of them. When I endeavor myself as a writer, I envision myself as a loner, slouched over a work area at home, surrounded by papers, preparing myself to write the biggest essay of my life.

But by his stringent critique of all written verse and prose, Professor Socrates shows us what he expects of his students’ essays. They should ask questions. They should explain a new point of view, not repeat one that is worn out. As he puts it, writing should help readers "remember from the inside, completely on their own" (275A). Most importantly, the purpose of writing should not be equivalent to the purpose of thought. When a rhetorician finishes an address, he has nothing more to say. But a real writer’s job is to keep seeking knowledge along with his readers. Like good dialogue, good writing educates continuously.

Literary language is seen as a highly valued in which words and phrases are carefully chosen for their artistic effect in the same time the listeners and readers are responded to these aesthetic. In literature that certain forms of language are highly creative .creativity is not restricted to literary text but how we can interact with

Kandasamy’s poems portray such a dreadful picture of varied agonies experienced by Dalits that her poems seem as an encyclopaedia of painfulinventories. Untouchable turns into touchable for upper caste when it fits their selfish deeds andlusty demands. As in the poem entitled “Narration” the lady narrates

Some ancient writers, with their thinking expressed by their pen, are remembered by their contribution to our society. Their thoughts are part of our daily language. For instance, “people without literature are people without culture are people without future.” Or, as an old thinker said “they want me to believe that I do not exist that I am nothing, but I refuse to accept that I do not exist, because I think, and because I think I know that I exist, and because I think and exist I write, and because I write I am sure that I exist that I am not nothing.” Those ancient reflections or sayings highlight the importance of writing. However, writing is complex as complex is the human being.

Dogri language is my mother tongue as I belong to the Dogra society. Dogras are known for their bravery and valour. India’s Dogra regiment fought in the British army in the world war and thus brought laurels to the name of Dogras. Another major contribution of dogras is the accession of Kashmir to India. It was because of active role of dogra rulers that Kashmir became a part of independant India after partition. Now-a- days a whole genre of research has opened up dogra culture and literature to be read and analysed. In this paper an attempt has been made to study Sathe’s short story to bring out elements of reality in his fictional work.

He makes comparisons between Dalit and Muslim leaders who have in the last six decades acquired substantial roles in the political milieu of India. Why hasn’t there been representation from the Adivasis? Guha believes that Adivasis do not have majority in any single peninsular state of India, therefore during elections, tribal votes do not make an impact as compared to Dalit votes. Guha also observes that the Dalits have had influential leaders (such as B.R Ambedkar) who have streamlined their marginalization, unlike Adivasis, who have never had a leader who could inspire admiration. Another important point highlighted is the role of contemporary media in projecting mainly Dalit and Muslim issues and not those concerning Adivasis. Therefore due to the negligence of the government, Maoists tend to influence the tribals into believing their socio-economic advancement agenda, according to Guha does not exist as the Maoists main agenda is to capture power through armed

Dalit is a category of self-definition of Untouchables in post-Independence India. It signifies a state of radical consciousness and seeks to interrogate and challenge the previous stereotypes that caste Hindu society had employed to describe untouchable as well as near untouchable castes and communities. However, in the contemporary context, the term ‘dalit’ does not remain simply a descriptive category. The term ‘dalit’ may be termed as a category of resistance which presupposes critical possibilities and potential of interpreting methodologies of dominance and resistance. Dalit literature emerged as the radical literature and challenged the norms, standards and principles of the so-called mainstream brahminical literature, aesthetics and literary theory. Dalit literature is not the literature of mere protest or negation. It aims at dismantling the existing structures of exploitation and restructuring the global society. Marginal representation of the lower-caste writers and their life-experiences result in the

Writers serve the role of being conscience of their people and at numerous occasions speak for the voiceless. Writers enlighten the trapped voices in each and every individual’s mind, making them aware of issues happening in their societies that deal with self identification. They remind us that we, as individuals, have the choice to make something out of our lives. However, for some reason, we have embraced uniqueness, difference and specialness to support our identities as individuals with thoughts and feelings that are worth others’ time, but failed in the way we live it out. In this modern Arab world, many writers have blossomed with raging talent. majority of them yearned to express their visions of their societies and of the human condition by using literary masks and creating characters that depicted major issues that were faced throughout the Arab world. Some notable writers are Naguib Mahfouz, AhlamMosteghanemi, NizarQabbani, Mahmoud Darwish, GhassanKanafani and ZakariaTamir who were able to brilliantly express their visions. They were able to make connections between their words and the actualities of human conditions; politics, societies, authorities, power, resistances and movements these are all realities that were conveyed through the spilled ink of these authors.

All religious communities in India are afflicted by an unfortunate evil tendency of exclusion. A sad trend of hatred has emerged in the battle against casteism and caste-based discrimination. Kancha Ilaiah’s Why I am not a Hindu (the non-fictional bestseller of 1996) has been constructed as an expression of the voice of post-Independence Dalitbahujan consciousness, which was an integral part of their socio-political movement. Born in a small South Indian Telangana village in the 1950s, his is the voice of the harassed subaltern, which exposes rampant cultural contradictions and practices. He talks about the marginalized and victimized identity, where they were not only neither included nor respected, but also looked down upon and repelled. The battle against disturbing dehumanizing social evils is manifested in the emergence of disparate groups having one thing in common – deep hatred for Hindus. He implores the upper stratas to read and understand what the ‘Other’ (here, an un-Hindu Indian) has to say, for, he believes that those who refuse to listen to new questions and learn new answers will perish and not prosper. The voice of the alienated existence of the subalterns on every level of experience makes us question certain trends of action and thoughts inscribed in our subconscious and evident in our consciousness. Though the book brims with undisguised and unidirectional attacks and opinions, which the readers might find appallingly biased, yet his voice deserves to be