http://hdl.handle.net/11089/2815 Marginalia / Marginality Issue Reviewer Wojciech Kalaga (University of Silesia) 2026-04-04T15:22:40Z http://hdl.handle.net/11089/8488 Reviews/Interviews Sumera Adam; Pietrzak Wit; Kocot Monika; Faqir Fadia; Assif Maria; Ravvin Norman; Majer, Krzysztof Absent Fathers, Outsider Perspectives and Yiddish Typewriters - Norman Ravvin (Concordia University) Talks to Krzysztof Majer (University of Łódź) 2012-12-04T00:00:00Z http://hdl.handle.net/11089/8486 Translation and Bilingualism in Monica Ali’s and Jhumpa Lahiri’s Marginalized Identities Rizzo, Alessandra This investigation seeks to demonstrate how Ali and Lahiri represent two different migrant experiences, Muslim and Indian, each of which functioning within a multicultural Anglo-American context. Each text is transformed into the lieu where identities become both identities-intranslation and translated identities and each text itself may be looked at as the site of preservation of native identities but also of the assimilation (or adaptation) of identity. Second-generation immigrant women writers become the interpreters of the old and new cultures, the translators of their own local cultures in a space of transition. 2012-12-04T00:00:00Z http://hdl.handle.net/11089/8485 Beyond the Margins: Identity Fragmentation in Visual Representation in Michel Tournier’s La Goutte d’or Gray, Richard J. II In Tournier’s novel, the goutte d’or also corresponds to a symbolic object: a Berber jewel. It is the jewel that Idriss brings with him, but which he also subsequently loses upon his arrival in Marseille. From the very moment that the French tourist photographs him, a marginalization of Idriss’s identity occurs. Marginality, quite literally, refers to the spatial property of a location in which something is situated. Figuratively speaking, marginality suggests something that is on the edges or at the outer limits of social acceptability. In this essay, I explore the construction of the marginalized postcolonial self (the “Other”) through an examination of the function of visual representation in the development of a postcolonial identity in La Goutte d’or. In the end, I conclude that the construction of a postcolonial identity is based upon fragmentation and marginalization, which ultimately leads its subject to create an identity based upon false constructions. 2012-12-04T00:00:00Z http://hdl.handle.net/11089/8487 Changing Notes in the Voices beyond the Rooster Coop: A Neo-Capitalist Coup in Aravind Adiga’s The White Tiger Shetty, Praveen; Prabhu, Vishnumoorthy; T., Pratapchandra Aravind Adiga’s novel The White Tiger encapsulates the complexities of identity formation in a milieu effected by neo-capitalism. The novel, for many, is about a new identity made available to the hitherto marginalized in the form of opportunities unveiled by market forces. It is also perceived as a registration of the frustration and anger of the deprived that has become conscious of the new possibilities. Understandably, interpreting the novel on these lines leads to the identification of the protagonist Balram as a champion of the marginalized, settling scores with the oppressive system. However, there are far subtler notes in the protagonist’s attitude to these sweeping changes than the simple and one dimensional approach of an achiever who is able to break the “rooster coop” and revel at the reversal of fortune. Neither is it a representative voice of the suppressed class turning the table on its oppressor by using the opportunities offered by the global market. The “notes” of the voices that emerge as Balram, the boy from darkness, moves up the ladder to become Ashok Sharma, the entrepreneur hiding in light, not only lack symphony but also create a distinct dissonance. Clearly, the discord in the changing notes is brought about by the forces that changed the world he lives in-a neo-capitalist world. The whole process of Balram turning into Ashok Sharma is a neocapitalist coup. 2012-12-04T00:00:00Z