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My Blog: http://garmentspace.blogspot.com/
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Nhìn lại ông già và biển cả dưới góc độ nghi lễ trong giải phẫu phê bình của ...TÀI LIỆU NGÀNH MAY
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Dicing with Class, Race and Gender: Toni Morrison’s The Bluest Eyeinventionjournals
ABSTRACT: The most disappointing aspect of human progress and our civilization is that some of us cannot accept others as our fellow human beings. Class, colour and culture always differentiate the human society. Instead of relishing the differences to our advantage, we struggle to suppress and destroy others. Caucasians despised Negroids and the Mongoloids are always in arms against Caucasians. We lost our sense of fraternity. The void between the rich and the poor, the gulf between blacks and whites and the drift between man and woman is keenly palpable. In the name of this class, race and gender some invisible hand is always playing the dice. Ever since human society emerged from its primitive state it has remained fundamentally divided between classes. Focusing on this aspect this paper attempts to critically analyze how classism marginalizes the poor, make them collect self-contempt by heaps and often degrade them to animal plane in Toni Morrison’s The Bluest Eye.
Exploring the Central Theme of Communal Riots in 'Final Solutions'.pptxDrashtiJoshi21
This Presentation Deals with how communal riots were also relevance in today's time. I also Raised Question that is there any "Final Solutions" of this riots?
Dislocation, Relocation and Root Search: a Study of Bharati Mukherjee’s Desir...iosrjce
Mukherjee’s protagonists are all sensitive and are differently trained in the new ethnic imagination.
They are tossed in an environment of ambivalence regarding their identity, racism, sexism and other social
oppression. They negotiate displacement and face the multicultural reality in the process of cultural
differentiation and assimilation. Bharati Mukherjee has explored many facets of diasporic consciousness and
immigrant experience of dislocations, ruptures and relocation of the migrant women in her fictions. She has
dealt with the ambivalence of their psychic and spatial identity and the trauma of dislocations at multiple levels.
The impact of patriarchy on the Indian society varies from the one in the West and therefore Mukherjee has
tried to evolve her own strand of feminism grounded in the truth of compulsory displacement that they
recurrently undergo. Indian expatriate writers do not write from all exclusive foreignness of their identity but
their writing reflects the perspective of someone caught between two cultures. Migrancy and dislocation, either
consensual or conflictual, is a global and trans-cultural necessity. In her earlier novels, diasporic
transmigration meant new opening and emancipation from the clutches of convention bound society. In these
novels, attachment to one’s own native culture and homeland, living abroad was presented as something to be
spurned and total assimilation into the host culture was hailed. It is to create a location of the presence that
reduces the diasporic individual to delink the past and deconstruct the future. In Desirable Daughters
Mukherjee considers different pattern of belonging in the Global perspectives from in-between temporality to
assimilative permanence and further, hyphenated and unmixed nationness.
Of Love and Betrayal, Sin and Redemption, Exile and Return: Recapturing the S...iosrjce
IOSR Journal of Humanities and Social Science is a double blind peer reviewed International Journal edited by International Organization of Scientific Research (IOSR).The Journal provides a common forum where all aspects of humanities and social sciences are presented. IOSR-JHSS publishes original papers, review papers, conceptual framework, analytical and simulation models, case studies, empirical research, technical notes etc.
IEL-II Exploring the universal theme of division in Mahesh Dattani's play 'Fi...Rajeshvariba Rana
This PPT is based on Presentation of Semester 3 Submitted to DoE, MKBU.
Paper no. 202 Indian English Literature Post-Independence topic is "Exploring the universal theme of division in Mahesh Dattani's play 'Final Solutions'".
Nhìn lại ông già và biển cả dưới góc độ nghi lễ trong giải phẫu phê bình của ...TÀI LIỆU NGÀNH MAY
Để xem full tài liệu Xin vui long liên hệ page để được hỗ trợ
: https://www.facebook.com/thuvienluanvan01
HOẶC
https://www.facebook.com/garmentspace/
https://www.facebook.com/thuvienluanvan01
https://www.facebook.com/thuvienluanvan01
tai lieu tong hop, thu vien luan van, luan van tong hop, do an chuyen nganh
Dicing with Class, Race and Gender: Toni Morrison’s The Bluest Eyeinventionjournals
ABSTRACT: The most disappointing aspect of human progress and our civilization is that some of us cannot accept others as our fellow human beings. Class, colour and culture always differentiate the human society. Instead of relishing the differences to our advantage, we struggle to suppress and destroy others. Caucasians despised Negroids and the Mongoloids are always in arms against Caucasians. We lost our sense of fraternity. The void between the rich and the poor, the gulf between blacks and whites and the drift between man and woman is keenly palpable. In the name of this class, race and gender some invisible hand is always playing the dice. Ever since human society emerged from its primitive state it has remained fundamentally divided between classes. Focusing on this aspect this paper attempts to critically analyze how classism marginalizes the poor, make them collect self-contempt by heaps and often degrade them to animal plane in Toni Morrison’s The Bluest Eye.
Exploring the Central Theme of Communal Riots in 'Final Solutions'.pptxDrashtiJoshi21
This Presentation Deals with how communal riots were also relevance in today's time. I also Raised Question that is there any "Final Solutions" of this riots?
Dislocation, Relocation and Root Search: a Study of Bharati Mukherjee’s Desir...iosrjce
Mukherjee’s protagonists are all sensitive and are differently trained in the new ethnic imagination.
They are tossed in an environment of ambivalence regarding their identity, racism, sexism and other social
oppression. They negotiate displacement and face the multicultural reality in the process of cultural
differentiation and assimilation. Bharati Mukherjee has explored many facets of diasporic consciousness and
immigrant experience of dislocations, ruptures and relocation of the migrant women in her fictions. She has
dealt with the ambivalence of their psychic and spatial identity and the trauma of dislocations at multiple levels.
The impact of patriarchy on the Indian society varies from the one in the West and therefore Mukherjee has
tried to evolve her own strand of feminism grounded in the truth of compulsory displacement that they
recurrently undergo. Indian expatriate writers do not write from all exclusive foreignness of their identity but
their writing reflects the perspective of someone caught between two cultures. Migrancy and dislocation, either
consensual or conflictual, is a global and trans-cultural necessity. In her earlier novels, diasporic
transmigration meant new opening and emancipation from the clutches of convention bound society. In these
novels, attachment to one’s own native culture and homeland, living abroad was presented as something to be
spurned and total assimilation into the host culture was hailed. It is to create a location of the presence that
reduces the diasporic individual to delink the past and deconstruct the future. In Desirable Daughters
Mukherjee considers different pattern of belonging in the Global perspectives from in-between temporality to
assimilative permanence and further, hyphenated and unmixed nationness.
Of Love and Betrayal, Sin and Redemption, Exile and Return: Recapturing the S...iosrjce
IOSR Journal of Humanities and Social Science is a double blind peer reviewed International Journal edited by International Organization of Scientific Research (IOSR).The Journal provides a common forum where all aspects of humanities and social sciences are presented. IOSR-JHSS publishes original papers, review papers, conceptual framework, analytical and simulation models, case studies, empirical research, technical notes etc.
IEL-II Exploring the universal theme of division in Mahesh Dattani's play 'Fi...Rajeshvariba Rana
This PPT is based on Presentation of Semester 3 Submitted to DoE, MKBU.
Paper no. 202 Indian English Literature Post-Independence topic is "Exploring the universal theme of division in Mahesh Dattani's play 'Final Solutions'".
India, the ancient land known as the torchbearer of peace, spirituality and humanism became
testimony to one of the ghastliest and flabbergasting acts ever committed in the history of
mankind. Her own offspring who had lived as a single unit were suddenly bifurcated on
communal lines due to political vendetta. Many authors have incorporated the trauma and
sufferings during the partition. Khushwant Singh and Bapsi Sidhwa are distinguished
signatures in the arena of English literature who have published novels based on the theme of
partition. They have portrayed the traumatic picture of that time making us to feel the pain of
humanity. Thus the present paper focuses upon the literature of partition with special
reference to the trauma in the writings of Khushwant Singh and Bapsi Sidhwa.
India drank the sweet nectar of freedom from the foreign yoke of British Raj but with a heavy
price. The ancient land whose civilisation had stood against the test of time was bifurcated
into two parts- India and Pakistan. The biggest exodus of people ever in the history of
humankind took place from one part to another. A state of religious frenzy and bigotry spread
in the entire Indian subcontinent. People became worse than beasts ever ready to slaughter
fellow beings in the name of religion. The single most affected victim was humanity which
was torn into pieces by its own children. All hell broke loose when people in both nations
were killed just due to their religious affiliations. A plethora of literature is produced on this
subject particularly from the authors of India, Pakistan and Bangladesh. The trauma and
agony experienced by people has found its voice in the literature of partition by many notable
and distinguished authors. Poet Faiz Ahmad Faiz lamented, „This stain covered daybreak,
this night bitten dawn. This dawn is not that dawn we craved for‘. Muslims migrated to
Pakistan and Hindus to India leaving back their ancestral homes, tradition and culture to
become refugees in a distant land just in the name of fanaticism. Bigotry spew its venom
particularly on women who were assaulted, sexually abused and tortured if they were found
to be of different religion.
The tragedy of partition has given way to literature in almost all languages of the Indian sub-
continent particularly Hindi, English, Urdu, Bengali and other vernacular languages. A
common element in all these pieces of literature is pathos. It is different from historical
account as it embodies the human suffering and pain due to partition. Authors such as
Krishna Chander, Rajinder Singh Bedi, Amrita Pritam, Saddat Hasan Manto, K.S. Duggal,
Nanak Singh and others have revolved their prose on the subject of partition. Khushwant
Singh‟s ‗ Train to Pakistan „, Bapsi Sidhwa‟s ‗Ice Candy Man‘ and ‗Bride‘, Salman
Rushdie‟s ‗Midnight‘s Children‘, K.A. Abbas‟ ‗Inquilab‘ in English, Bhishma Sahani‟s
„Tamas‘ and Yashpal‟s „Jhoota Sach‘ in Hindi.
Almost everyone is doing well..
Revolution 2020: Love, Corruption, Ambition is a 2011 novel by Chetan Bhagat. Its story is concerned with a love triangle, corruption and a journey of self-discovery. R2020 has addressed the issue of how private coaching institutions exploit aspiring engineering students and how parents put their lifetime's earnings on stake for these classes so that their children can crack engineering exams and change the fortune of the family. While a handful accomplish their dreams, others sink into disaster.[1] The book is available as an Audiobook on Amazon.[2]
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Role of memory in shaping characters identity in final solution
1. ROLE OF MEMORY IN SHAPING
CHARACTERS’ IDENTITY IN MAHESH
DATTANI’S FINAL SOLUTIONS
Suman Sigroha1
Abstract: While writing of contemporary issues Mahesh
Dattani constructs a sense of a shared urban cultural
identity, which is upper-middle class, professional,
English speaking and a ‘cityfied’ identity. Memory plays
a very important part in the plays. Public memory is time
and again juxtaposed with personal memory, and it
becomes a means to explain and justify the political acts
committed for personal interests. This paper looks at how
memory, personal as well public, shapes the identities
(social, personal and religious) of characters in Mahesh
Dattani’s Final Solutions. Incidents are important, but
1
Dr. Suman Sigroha is Assistant Professor, English Literature, School of
Humanities and Social Sciences,, Indian Institute of Technology (IIT)
Mandi, Mandi-175001, Himachal Pradesh, India. He can be reached at
<suman.sigroha@gmail. com> <suman.sigroha@iitmandi.ac.in> with phone
number 01905-237994 (Office). Prior to teaching at IIT Mandi, he taught
English Literature to honors undergraduate students at Hindu College,
University of Delhi. Though he did research on the representation and
stereotyping in fictional narratives written by the British authors located in
India, at present his areas of research interest and teaching include Modern
literature, Graphic and Popular fiction, Romance fiction, and Modern
Translations. He specifically look at the place of men, women and children
and representation as well as stereotyping of the Other (race, class or caste
based) in various fictional narratives. He finds the journey from the text to
the motion picture fascinating and tries to unravel its various facets with his
students at IIT Mandi.
2. Celt, Volume 13, Number 2, December 2013 : 227 – 238
228
only to explain why and how the people populate his
plays, acting in ways that they do. The psychological
action is of greater relevance than any physical action
that takes place in the play. He reveals his characters by
placing them in situations where they are forced to
analyze themselves in the light of what happened in their
lives in the past.
Key words: Mahesh Dattani, Final Solutions, Memory,
Identity, Religion
INTRODUCTION
A psychological concept, deriving from the works of Erik
Erikson that finds place in anthropology, sociology, political
science and literature, identity is still highly debated.
Essentially comparative in nature, it is the sense of belonging
and acceptance that marks the identity of an individual or a
group. It is either the sameness or the difference that gives an
identity of either belonging or alienation. This is as true of a
social group or a culture or a religion as it is true of an
individual, religion or faith being one of the important markers
of this identity formation. The conception of one’s religion is
the shared identity of a person with others not only of the same
faith, but is also the boundary that sets her/him apart from those
of other faiths. And this sense of belonging is given, and not
inherent. It is developed over a period of time, starting from
birth itself. However, this sense of identity is based on
individual’s memories and their interpretation later on. This
selective retention and recall of memories is what is of interest
in identity formation, and consequently how people think and
act and share this sense of belongingness or otherness. We see
this process of identity formation, change and a questioning of
the ‘given’ identity time and again in Mahesh Dattani’s Final
3. S. Sigroha, Role of Memory in Shaping Character’s Identity 229
Solutions. The fluidity and yet the rigidity of this religious
identity, shaped by individual and collective memories, is what
is being analyzed in this paper. The paper studies the role of
memories, selective retention of some and the recall of a few
self-enhancing memories in shaping not only an individual but
by extension a community and hence, the culture.
In his plays Mahesh Dattani writes of contemporary
issues, all the while constructing a sense of a shared urban
cultural identity. It emerges from a study of his plays that this
urban identity is upper-middle class, professional, English
speaking and a “cityfied” identity. It is urban both because of
its treatment of the language as well as depiction of history.
Language is of the times, and reflects the current milieu. While
this history does not hark back to a common inherited culture,
but is more personal and immediate. He believes that his plays
are a “true reflection of my time, place and socio-economic
background” and his “business is holding a mirror up to
society” (Dattani 2000).
FINAL SOLUTIONS: THE PLAY
The play, Final Solutions, has a recognizable and realistic
structure. Written in an easy language to which the readers can
relate, Dattani has made imaginative use of space, and treats of
not just the physical space but personal and political spaces as
well. The positioning of the horseshoe-crescent encircling the
stage and sloping towards the audience, that achieves the effect
of making the audience one with the mob, is innovative. It is as
if the “fourth wall” of the drama gets transformed, and gives
rise to the feeling that the mob that features in the play is
always present, that the issues just need to be vocalized on
stage and even these stragglers will join in. Confined within
this crescent is a space suggestive of a room that has but just a
4. Celt, Volume 13, Number 2, December 2013 : 227 – 238
230
hint of furniture, only the kitchen and the puja room being
‘detailed’. This detailing is symbolic of the importance of these
two places in the home, being the symbols of culture and
religion that act to either unify or divide people. These are the
two physical spaces that have a unique power in bringing
together not only the people and creating memories but also of
identity formation. Seen as a woman’s space throughout
literature, these are the two spaces where the tenets of culture
and religion are propagated in a traditional Indian household.
However, these two get appropriated and used as tools, as can
be seen happening in Final Solutions, by different people men
and women alike for their own purposes. There is an interesting
intermingling of the past and the present in the play. The
audience sees that the past is ever present and gives direction to
the present, and that memories are what people make of them.
This continuation of the past in the present is seen even in the
characters in the play. The characters do not change, or are
different from any of those in the past; they are just replaced by
others who, though they appear different and modern in
outlook, remain basically the same and have similar issues to
deal with.
Basically, Final Solutions is the story of a Gujarati family
that consists of four people – grandmother (Daksha/ Hardika),
father (Ramnik), mother (Aruna), and daughter (Smita); and
their encounter with two muslim boys – Javed and Babban
(Bobby), who arrive at their house seeking refuge from a
blood-thirsty mob during communal riots. How every character
is jolted out of his/her sphere as a result of this meeting is
shown in the play. They are forced to question their previously
held views, memories of past incidents, and their personal
conceptions of faith. Written in the aftermath of the demolition
of Babri Masjid, this play essentially explores the ‘communal’.
Each character is seen trying to come to terms with his/her
5. S. Sigroha, Role of Memory in Shaping Character’s Identity 231
conception of faith and religion, for it forms the very basic
characteristic of his/her nature and hence identity, and
determines all the actions and reactions to various persons and
situations.
MEMORY AND IDENTITY
Memory plays a very important part in the play. Public
memory is time and again juxtaposed with personal memory, in
that the former becomes a means to explain and justify the
latter. Through interplay of recall of memories, the audience
sees that the political acts are committed for personal interests.
Happenings of the past are contiguous with and impinge upon
the incidents of the present night, and vice-versa.
The action of the play is seen as happening through the
eyes of Hardika, not as it happens but again as a representation
of her memory of it. An interesting element of the play is the
presence of Hardika and Daksha, shown to be two different,
though at the same time, same characters (Dattani 2000: 165).
Because of this ‘sameness’ of the two characters, the names are
used either interchangeably or together in this paper. The play
opens with a reading of Daksha’s diary. A diary is something
that contains personal memories, written from a point of view
of being read by an-other some time in the future. Though this
‘other’ might be another person, it is more often an evolved
self. It has all the self-consciousness of a personal memory
becoming public in a future time.
Dattani has interestingly put in two characters to play the
grandmother, Dakhsha - the newly married young girl, who is
reading from her diary; and Hardika - the grandmother, who is
listening to this diary recitation. The difference between these
two is in that while Daksha still holds independent views and is
6. Celt, Volume 13, Number 2, December 2013 : 227 – 238
232
a sort of a rebel, Hardika has come to accept her husband’s
point of view concerning her friendship with her Muslim
neighbours. However, in spite of being two different characters
they are not different, their thoughts, memories and actions are
seamlessly interwoven as the following diary entry shows,
And I wrote. A dozen pages before. A dozen
pages now. A young girl’s childish scribble. An
old woman’s shaky scrawl. Yes, things have not
changed that much. (Dattani 2000:167)
Almost all the characters are haunted by their past. Their
actions appear conditioned by their experiences in the past and
their personal memories of those experiences. Hardika’s
present mental state has been conditioned by her personal
experiences with Zarine and her family, looked at from her
husband’s point of view. And her reaction to the arrival of the
two strangers, Javed and Babban, is a reflection from her past.
She has reasons to hate Muslims because a communal mob had
killed her father and she thinks she lost her freedom and has
been confined to the house by her husband because of her
association with Zarine. Presence of Javed and Bobby is to her
dislike because to her they represent all that is bad with their
religion. However, her world is shaken and she no longer has a
‘memory’ to rely upon when her son finally tells her the family
secret that Zarine’s family was made the scapegoat by her
husband to grab their shop, political upheaval used for personal
gain. Suddenly her conception of her reality and truth, and past
and memories is no longer the ‘truth’ as it was till that moment.
She has no past or “memory” left to depend upon. Yet she
clings to that shattered universe tenaciously, “I still am not
willing to forget...”(Dattani 2000: 225). It is not the forgetting
that is important here, it is rather the selection of prevailing
memories and her identification with them. If she forgets, she
will no longer be able to know herself. She remembers because
7. S. Sigroha, Role of Memory in Shaping Character’s Identity 233
she wants to retain an identity, any identity that is available to
her.
Ramnik is also plagued by what happened in the past.
Knowing what happened years ago, he is ashamed of his
father’s and grand-father’s act of arson to lay their hands on
Zarine’s father’s shop. Because they were planning to set up a
mill as well, it was perhaps more an act of jealousy rather than
of communal hatred. Religion merely served to justify the
actions later on. Ramink tries very hard to be non-communal.
He time and again laughs sarcastically at his wife Aruna as she
goes about her rituals and ceremonies. He feels a need to save
the two boys from the wrath of the communal mob in an effort
to atone for the mistakes committed by his family in the past.
He even offers a job to Javed thinking that it would redeem him
of his sense of guilt. But he is no liberal, and it is just a blind
that blinds even his own self, and which Javed manages to tear
apart. He represents the ‘urban, educated, secular’ middle-class,
which believes that it is non-communal but the truth is
somewhat different. Ramink is in the trap of his own memories
of the wrongs done in the past. Every action of his is an effort
to come to terms with the happenings of the past. He is always
in a state of conflict because of this ever-present war within
himself. His sense of identity and belonging to either middle-
class or to his religion is at the mercy of the happenings of the
past and his memories of the same.
Javed, who used to be a hero to his friends as an
adolescent, was rudely shaken by an incident that acted as a
catalyst in making him a rabble-rouser. He becomes the person
who throws the “first stone”, and the one who sets the ball of
communal hatred rolling. He witnesses the derogation of his
own self and that of his religion. As is shown in an incident in
the play, because of his religious identity his mere touch is
8. Celt, Volume 13, Number 2, December 2013 : 227 – 238
234
enough to contaminate a letter, and by extension a Hindu
neighbour. He is shaken and suddenly, he is no longer sure of
himself, and his identity. He turns to the only way he knows to
fit in and that is to harm the other in order to protect his
religion and faith. But he finds out his mistake and realizes that
people like him are made use of to stir up emotions and fury to
make personal gains, and is again shaken to his core. Even
though like others Javed is also being constantly troubled by
the tenuous nature of his conception of identity and its fluid
nature, he is the only one in the play who is proud of his
identity and has a sense of reality, and has a clear vision to see
the things as they are. He is the only one to see through
Ramnik’s pseudo-secular facade.
You can offer milk to us. You can have an
angry mob outside your house. You can play
the civilized host. Because you know you have
peace hidden inside your armpit. (Dattani 2000:
192)
And again,
I believe in myself...It’s people like you who
drive me to a corner and I have to turn to
myself and my faith...At least now I am not
ignorant of my history and faith...you do
something more violent. You provoke!...You
hate me because I showed you that you are not
as liberal as you think you are. (Dattani 2000:
198)
Despite being shaken and stunned, Javed is the one who has a
clear conception of his faith, identity and social milieu. He is
the one who is best adjusted in the whole gamut of characters
in the play.
9. S. Sigroha, Role of Memory in Shaping Character’s Identity 235
Aruna, Ramnik’s wife, makes a Hindu counterpart to
Javed. Like him she has confidence in her faith. She is a strong
believer, takes pride in her religion and inheritance and finds
protection therein. She is neither confused nor wavers till her
daughter Smita attacks her faith. Daksha/ Hardika had once
questioned the blind faith held by her mother in an idol God
because that God had failed to protect her father. Smita and
Aruna reflect Daksha/Hardika’s own situation, though in two
separate characters. The former resents the blind idol worship
being practiced by the latter, and shatters her own perfect world
when she gets the opportunity to vocalize what she has always
wanted to in front her mother Aruna. At Smita’s telling her the
falsity and hollowness of her faith, Aruna does take a stand
before crumbling in the face of opposition,
And I will not have it all perish to
accommodate someone else’s faith. I have
enough faith and pride to see that it doesn’t
happen. I shall uphold what I believe is the
truth...because I will not accept that from
someone who is not proud of her inheritance.
You cannot criticize what you are running away
from. You will be prejudiced...I have always
taken pride in my religion. I was so happy
knowing that I was protected. (Dattani 2000:
210, 211)
Despite this Aruna still has a conception of identity and holds
on to it though a little tenuously. Javed acknowledges the
similarities between himself and her when he says,
What I told Babban, you told her...you wouldn’t
listen to her criticism because she was not
proud of her–what did you call it?– inheritance.
I said religion. Same thing I suppose. We are
10. Celt, Volume 13, Number 2, December 2013 : 227 – 238
236
not very different. You and me. We both feel
pride. (Dattani 2000: 214)
Babban and Smita are the two characters who think they are
different, who think that they do not belong and hence are the
rebels. Yet as the play progresses, they come across as the ones
who are shown to have no conviction and are simply lost. They
question but do not have the courage to go against the dictates
of their religions. They lack conviction, both in themselves as
well as in their respective religions. Babban dislikes being
clubbed with Javed for he sees the latter as a communal fanatic.
But the fact is that since he lacks faith in his own religion, and
tries to hide his identity behind borrowed names like “Bobby”,
he does not have a sense of strong identity like Javed.
...I was ashamed of being myself. He
wasn’t...Like being apologetic. For being who I
was. And pretending that I was not a part of my
community. For thinking that I could become
superior by not belonging. (Dattani 2000: 201)
Smita feels stifled by the rituals that her mother makes her
follow, and like Babban wants to be free of it. However, she
cannot be honest. The reality is that things are as they were in
Daksha’s times.
The present is no different from the past, and she cannot
escape it. Hardika rightly points it out to her that she is a fool if
she thinks that things are any different now from her own
times, that she has freedom to say things she likes, choose her
own friends or go where ever she wishes.
But not belonging makes things so clear. I can
see so clearly how wrong you are. You accuse
me of running away from my religion. Maybe I
am...embarrassed...spirit of liberalism ran in our
blood. (Dattani 2000: 211)
11. S. Sigroha, Role of Memory in Shaping Character’s Identity 237
Though she advocates freedom and liberalism, Smita cannot
escape being who she is, caught in the vortex and too weak to
fight her way out, as is reflected in her decision to deny her
love for Babban. Instead of owning it and fighting for it, she
even lacks conviction in her love.
The two characters that began as the strongest, and surest
and apparently had a clear idea of who they were, end up as the
two who are most unclear about their own identities. The rebels
fail to ultimately even stand up for their convictions because
ultimately they do not have any.
CONCLUSION
The play is titled Final Solutions, suggesting that there is
more than one solution to the problem of conflicts (personal
and political) based on religion, and having an impact on
identity and role of memories. The implication of such a
suggestion being that every person has a different solution to
offer. But is there any solution in the play, let alone Solutions
and those too Final? The incident of the night has played havoc
with the life of each character, but it has failed to provide a
solution to the problem. The play ends in an ambiguous and
disturbing manner. Only Babban has a solution which is that
they all believe and have faith and tolerate. And there are no
takers for it! All others have just questions and a sense of loss
and defeat. Everyone is shaken by the stirring of memories,
same memory and yet different for each character. All of them
feel a loss of identity, though each one of them continues to
hold on to that earlier identity and pool of memories because
there is no other Solution yet. As Hardika puts it, “I still am
not willing to forget...We do not speak to each other. We move
in silence. And I-I remain confined.” Her confinement, which
12. Celt, Volume 13, Number 2, December 2013 : 227 – 238
238
began with the acceptance of what her husband wanted her to
believe, continues, as does every other character’s.
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