These are the sources and citations used to research 3 Partition Texts Critics. This bibliography was generated on Cite This For Me on
Your Bibliography: bean, larry. "Ffe." The Riverside. dfef: fe, 2018. Print.
In-text: (Bean 292392)
Your Bibliography: Bean, Larry. The Riverside Chaucer. 3rd ed. Oxford: yala, 2008. Print.
Bildungsroman, 'aligning the narrators coming of age with the event of Partition itself' pre-partion age 'identified with childish innocence, while the post partition or post-awareness period equals adult disillusionment'. semi-autobiographical protagonist. 'The reader is meant to imagine what it might be like to share Lenny's innocence, but because like her, we are encouraged to contrast the time of pre-partition innocence with that time of post-partition disillusion' Can one break a country 'this retrospective staging of childish credulity is not always believable....but it is nevertheless used to establish Lenny's innocence, which is allegorically paralleled, like Ayah's meetngs in the park with her admirers, with the pre-partition innocence of the population'. (19) 'loss of innocence comes not from her position as a witness, as some critics have claimed, but from her actions: when she betrays Ayah's hiding place to Ice-candy-man' Fragmented Narrative - stylistic category REFER BACK TO THIS FOR TSL
In-text: (Bernard 9-33)
Your Bibliography: Bernard, Anna. "Forms Of Memory: Partition As A Literary Paradigm." Alif: Journal of Comparative Poetics 30 (2018): 9-33. Web. 19 June 2018.
In-text: (Chaucer and Benson 105-122)
Your Bibliography: Chaucer, Geoffrey, and Larry Dean Benson. The Riverside Chaucer. 3rd ed. Oxford: Oxford University Press, 2008. Print.
In-text: (Hai 379-426)
Your Bibliography: Hai, Ambreen. "Border Work, Border Trouble: Postcolonial Feminism And The Ayah In Bapsi Sidhwa's Cracking India." MFS Modern Fiction Studies 46.2 (2000): 379-426. Web.
In-text: ("Monstruǒus Adj.")
Your Bibliography: "Monstruǒus Adj.." Middle English Dictionary 2018. Web. 3 Aug. 2018.
'present intriguing feminist frameworks through which the traumas of war and communal violence may be addressed' 'can be read as counterhistories to predominant historical representations that attempt to justify the violence of war through the reification of largely masculine tropes of the war narrative (23) Follows 'experiences of a middle-class Parsee girl and those in herhousehold during the events of India's partition, 'this character's naive, yet maturing, perspective on the events of communal violence and war that upends conventional conceptions of these events'. 'matures over the course of the narrative' 'a girl on the verge of sexual maturation sees the eruption of violence in the society around her to be fundamentaly analogous to the inherent violence accompanying the new social role she is being thrust into as a woman' (23-24) It is a 'war narrative' where 'linking the political, often nationalist violence of these stories to the intimate violence sustaining the structure of patriarchal social institutions within which the characters exist' (24) 1st person narrative, 'effectively juxtaposes the maturation of its young Protagonist, Lenny, with the escalation in violence as the struggle for Indian independence is climaxing and as the prospect of a partition of India is growing more real' 'loss of innocence' metaphor. (26) 'As a girl, however, she comes to understand that the foundations of violence in her surroundings are largely gendered' and 'it is Lenny who can most easily see the changing faces of each character- and in particular the Ice Candy Man- as gestural and performative undertakings' He 'takes on the roll of a minor nationalist leader in their area' (27) becomes aware of religious differences 'this sudden transformation is linked directly to the escalation of nationalist rhetorics and the political struggle that have led to considerations of a partition'. 'shifts in the value of religious identity that she senses around her. To Lenny, the artifice of religious identity is brittle, even gaudy, and largely incomprehensible' (28) To Parsee's 'historically attuned to these dangers, the Parsees' concerns are the most self-conscious' as others 'have found their identities to be tools in larger political battles, the repercussions of which they are uncertain'. Adults 'continually rationalize these emerging fault-lines and therefore prepare the scene for the justification of the violence to come' (29) Gender: 'these games, while not horrific to Lenny, define gender in a context complicated by violence'. Eventually matures and 'begins to comprehend more and more of the dark logic of the world she grows up in'. 'She unwittingly betrays Ayah because she does not understand the dangers at hand'. Her contuining belief for the state when '"everyone is themselves" (93) leads to a tragic miscalculation of the potential for violence inherent in those people, even her friends and family members' (30) Rather than 'displace the cause for violence against women', the text 'familiarizes the culprit of Ayah's kidnapping, forced conversion, and degradation as a dancing girl'. ICM is not painted 'a monster, unrecognisable and despicable' but rather 'rendered a pathetic character' (30) Thus, 'ICM offers a counterhistory to the dominant national history of partition..... and an understanding of how violence is gendered' (32)
In-text: (Rastegar 22-47)
Your Bibliography: Rastegar, Kamran. "Trauma And Maturation In Women's War Narratives: The Eye Of The Mirror And Cracking India." Journal of Middle East Women's Studies 2.3 (2006): 22-47. Web.
allows her to 'imagine how a child would have experienced that troubling and confusing time'. It is a means of 'reaching back' and 'revisiting' the past. (66-67)
In-text: (Sadarangani 63-73)
Your Bibliography: Sadarangani, Umeeta. "Descendant Of The Storm: On Being A Child Of Refugees And Teaching Partition Narratives." Modern Language Studies 38.1 (2008): 63-73. Web. 3 June 2018.
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