| Pub. Date | : Jun, 2019 |
|---|---|
| Product Name | : The IUP Journal of English Studies |
| Product Type | : Article |
| Product Code | : IJES71906 |
| Author Name | : Sreetanwi Chakraborty |
| Availability | : YES |
| Subject/Domain | : English Studies |
| Download Format | : PDF Format |
| No. of Pages | : 16 |
Ecocritical tools offer an opportunity to analyze not only literary texts but also other art forms like visual arts, paintings, and sculptures. More than any art form, it is sculpture that has been used most as a propaganda tool. Kings and leaders have erected sculptures of themselves or their ancestors in great numbers. Even greater numbers of sculptures have been carved with a view to propagating religion. Historians today are discovering the hidden messages in sculptures when they examine them with newer tools of analysis. This paper uses ecocritical tools to analyze a sculpture and propounds an oikic interpretation of the sculpture of Mahishasuramardini at Mamallapuram in the state of Tamil Nadu, India.
The above excerpt taken from a PSBT documentary on Tibetan refugees settled in Darjeeling in India is a heart-wrenching account of the alienation and rootlessness that Namgyal Dorjee, an octogenarian, suffers, when he and his family are uprooted from Lhasa, Tibet, and forced to settle in India. This is just a slice of the multifaceted diasporic experiences in South Asian cinema, films, documentaries, and recollections by people who had migrated all over from India, Sri Lanka, Bangladesh and Pakistan all the way to the USA, and to Britain, Canada and Australia, mainly during the 1960s and the 1970s.