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
Gayatri Chakravorty Spivak is an unsettling voice in literary theory and especially, post colonial studies. She has describes herself as a “practical deconstructionist feminist Marxist” and as a “gadfly”. she uses deconstruction to examine how the truth is constructed and to deploy the assertions of one intellectual and political position to interrupt” or “bring into crisis”. in her work she combines passionate denunciations of the harm done to women, non-Europeans and the poor by the privileged
quotes Mark’s foreword from an earlier version of the book as, ““At the first sight it reads like a history of a village. From another angle, it reads like an auto-biography. From yet another angle, it reads like a brilliant novel.” In other words Karukku crosses over genre boundaries. It is neither history, nor autobiography, or fiction; yet it is all of them at the same time.” (Pandian 35). This is how a subaltern position is being exploited for an affirmative action not just for the purpose of locating
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