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Parody as positive dissent in Hindi theatre
National Institute of Oriental Languages and Civilizations, Paris, France.
2012 (English)In: Orientalia Suecana, ISSN 0078-6578, Vol. 60, 20-32 p.Article in journal (Refereed) Published
Abstract [en]

Parody (etymologically a voice alongside another voice) involves imitation, but what is crucial is the co-presence of these two voices, the parodying and the parodied. It is the dialogue between two enunciative spheres, two utterances, hence its preeminent position in the Bakhtinian concept of dialogism. The two points of view, set against each other dialogically, represent two utterances, speakers, styles, languages, and axiological systems, even if they issue from a single speaker. As a reflexive device and critical manipulation of canonized forms, parody has often been considered as the epitome of postmodernism in European and North American literature and artistic expression. The paper aims to show that, in Hindi theatre, parody is politically significant. The article focuses on Bhartendu Hariścandra (1850—1885) and Habīb Tanvīr (1923—2009). It argues that the use of the quotes of Nazīr Akbarābādīin Tanvīr’s most famous play Āgrā Bāzār, a poet who himself parodies the traditional poetical canons, enhances a literary reflexivity that is one of the deepest creative devices of Indian culture.

Place, publisher, year, edition, pages
Uppsala: Uppsala universitet, 2012. Vol. 60, 20-32 p.
Keyword [en]
Habib Tanvir, Bhartendu, postmodernity, reflexivity, parody, canonized form, popular culture
National Category
Languages and Literature
Research subject
Indology with Classical Sanscrit
URN: urn:nbn:se:uu:diva-177281OAI: diva2:540001
Available from: 2012-07-06 Created: 2012-07-06 Last updated: 2012-07-11Bibliographically approved

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