Results for 'Hema Tharoor'

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  1. Tharoor versus Narayan: are the avant-garde linguistic experiments actually left behind?Terence Rajivan Edward - manuscript
    When evaluating R.K. Narayan, Shashi Tharoor seems to commit himself to these theses: Narayan has a natural style of writing, or a style which is second nature to him; to go significantly beyond his limited range he would have to experiment more with language, reducing the accessibility of his fictions. I cast doubt on the first of these by speculating that Narayan’s middle-of-the-road style required suppressing linguistic innovations in earlier drafts.
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  2. Consistency worries for Shashi Tharoor concerning “It reads like a translation”.Terence Rajivan Edward - manuscript
    I raise a worry that Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation” is inconsistent with his criticism “the ABC of bad writing – archaisms, banalities and cliches – abounded” because these things tend to be worded in a way that exploits local linguistic features, such as alliteration, making translation difficult. I also flag another inconsistency worry, but earlier in this paper.
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  3. Specialization as a disadvantage in literary criticism, from Tharoor versus Narayan.Terence Rajivan Edward - manuscript
    Specialization appears to be a more efficient way to achieve shared ends: you specialize in one task and I in another and we combine our efforts. Specialization in literature would seem to call for a divide between literary critics, who interpret and evaluate fictions, and fiction writers themselves. But such a divide is a disadvantage for assessing some claims made within literary criticism, notably that a certain style goes with a certain content.
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  4. On the very idea of a short story that got out of control and became a novel?Terence Rajivan Edward - manuscript
    Shashi Tharoor criticizes R.K. Narayan in the following way: “Narayan’s prose was like a bullock-cart: a vehicle that can move only in one gear, is unable to turn, accelerate or reverse, and remains yoked to traditional creatures who have long since been overtaken.” I think there is a quick defence, which is that it is very unlikely that one can write the different kinds of works he did without being able to significantly change pace; but there is an objection (...)
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  5. Book Review: The Mokken Collection: Books and Manuscripts on Fencing Before 1800.K. Verelst - 2023 - Quaerendo 53 (3-4):319–321.
    This paper offers a review of the catalogue composed by Myriam Vogelaar of one of the largest and most important collections of Fight Books and fencing manuals in the field of Historical European Martial Arts Studies (HEMAS). The Mokken Collection is named after Wiebe Mokken, the man who meticulously built it up over the past decades in Amsterdam. The book also highlights the glaring lack of contemporary knowlegde about other major historical fencing-related collections, like Gotti’s spectacular private collection held at (...)
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  6. Medicine, Logic, or Metaphysics? Aristotelianism and Scholasticism in the Fight Book Corpus.Karin Verelst - 2023 - Acta Periodica Duellatorum 11 (1):91-127.
    Because we tend to study fight books in isolation, we often forget how difficult it is to understand the precise place they occupy in the sociocultural and historical fabric of their time, and spill the many clues they inevitably contain on their owner, their local society, their precise purpose. In order to unlock that information, we need to study them in their broader sociocultural and historical context. This requires a background and research skills that are not always easily accessible to (...)
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  7. Can you use this style in other contexts? With R.K. Nar*y*n.Terence Rajivan Edward - manuscript
    This paper argues against a thesis that Shashi Tharoor seems to accept: that R.K. Narayan’s style is bound up with a very specific context, of people left behind by the times in South India. It cannot deal with other subject matter. I present a little fiction to challenge the thesis.
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  8. Comedies of translation: R.K. Narayan, V.S. Naipaul, Annie Saumont, and beyond.Terence Rajivan Edward - manuscript
    This paper responds to Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation.” He does not name any writers in another language to back up his claim and without doing so there is an explanation for his impression, but one which leaves it looking misleading.
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