up illiterates the case is in reverse. They are still bound up with rope of oppression stating culture. This can be considered controversial. In this paper, we have done a cultural analysis with Dalit women who suffer under double oppression in the novels of Bama and Sivagami. Bama in her bestselling novel “Karukku” explains various situations in her childhood where she herself laughed looking at the behavior of elders of paraya community. The best illustration is “Bonda Mama” whom she sees in
Finally Spivak points out the suggestion that same relation to global capitalism and should respond to it in the same way is “essentalist” Spivak then turns to Sigmund Frued in an effort to develop an appropiate model of intellectual work. Frued’s analysis of colonialism by helping us sees how the very identity of witness itself is created in part through the self proclaimed benevolence of colonial action. He implicity cautions us against conversely, creaming saviors. Spivak’s “sentence”- “while men
an inter-textual analysis on the politics of caste and gender by using both textual and visual medium. In the first part we shall look at Bama’s Karukku (1992) and locate the elements of subversive modes of expression through form and content. The second section of the paper will look at some of the paintings of Savindra Sawarkar, a prominent Dalit painter to discourse about the use of painting as a medium that questions the flawed value systems of caste. Part I Bama’s Karukku (1992), the first
of some of the texts seems to be a conduit to take the translated Dalit Literature closer to mainstream literature. Analyzing some translated autobiographies such as Urmila Pawar’s The Weave of My Life, Baby Kamble’s The Prisons We Broke, Bama’s Karukku and Sangati, the present paper attempts to show the role of translation in the expansion of Dalit literature from the frontiers of marginal literature towards mainstream literature. Key Words: Translation, Dalit, Conduit, Frontier, Mainstream. Literature