LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 20:1 January 2020
ISSN 1930-2940

Editors:
         Sam Mohanlal, Ph.D.
         B. Mallikarjun, Ph.D.
         A. R. Fatihi, Ph.D.
         G. Baskaran, Ph.D.
         T. Deivasigamani, Ph.D.
         Pammi Pavan Kumar, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.

Managing Editor & Publisher: M. S. Thirumalai, Ph.D.

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Katherine Mansfield and Rajam Krishnan:

Womanhood from a Conventional Perspective

Dr. S. Chelliah, M.A., Ph.D., D.Litt.


Abstract

This paper is an attempt to lay focus on Katherine Mansfield and Rajam Krishnan’s comparative perspective of their writings in terms of treatment of themes and narrative style. Both the writers believed that true literature is a product of inspiration and uses convention with individuality and imagination. Both the writers project the suppression and oppression of womanhood; through their writing, they intend to provoke awareness to them.

Keywords: Katherine Mansfield and Rajam Krishnan, Womanhood, Loneliness, conventional domestic life, Freedom and rights, Indian culture.

Comparative Literature, according to Rene Wellek, is “a study of all literatures from an international perspective with a consciousness of unity of all literary creations and experience-independent of ethnic and political boundaries.” One obvious objective of Comparative Literature is to arrive at a universal view of literature independent of linguistic, national or racial demarcations. A comparative analysis does not just add to our knowledge but leads to a fuller understanding of the works of art, thereby cultivating in us superior standards of literary judgement. Comparative literature has been made odious by mechanical analogies and forced parallelisms. Influence – hunting is an intellectual game that has caught the attention of many a comparatist. Under such circumstances, a comparative study of Katherine Mansfield and Rajam Krishnan seems to be a novel venture. Though separated by two generations, by race and by nationality, one can find obvious similarities in the writings of both in terms of treatment of themes and narrative style.

A genuine similarity between writers suggests itself to the discerning reader’s mind. One’s appreciation and classification of a writer is basically an unconscious process and sometimes comparisons strike one with the force of lighting. To use a convention with individuality requires genius and imagination. Of course, ideas and concepts can be the unique contributions of an author following an age-old technique. But in modern literature, there is not much of sympathy for writers who are mere instinctivists or thinkers. Modern literature of the West, certainly – is marked by its self-consciousness. Consequently modern criticism is also very much technique-oriented. But in Tamil, technique was not yet of this great importance. There were indeed a few writers like La. Sa. Ramamirtam, Mouni, and Ti. Janakiraman, following on the footsteps of Ku. Pa. Ra., who thought much about technique and evolved their own techniques. Many, however, just followed the formula.


This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.


Dr. S. Chelliah, M.A., Ph.D., D.Litt.
Dean of Arts, Humanities & Languages
Professor & Head
Department of English & Comparative Literature
Madurai Kamaraj University
Tamilnadu, India
Cell: 9442621106 / 7339129324
schelliah62@gmail.com

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