会议论文征集：非西方的活史诗与神话：记忆、社区与身份，美国比较文学协会年会，2008

木兰

美国比较文学协会2008 年年会，加州长滩。
Panel 主题：Non-Western Living Epics and Myths: Memory, Community and
Identity　（非西方的活史诗与神话：记忆、社区与身份）


Call for papers: Non-Western Living Epics and Myths: Memory, Community and
Identity, American Comparative Literature Association annual meeting,
Long Beach, CA, 24-27 April 2008
************************************************************************
From: Nandini Dhar <nandinid@mail.utexas.edu>

Call for Papers

American Comparative Literature Association Annual Meeting
April 24-27, 2008
Long Beach,

Non-Western Living Epics and Myths: Memory, Community and Identity

In 1919 A. A. Macdonnels had commented that "robably no work of world
literature, secular in origin, has ever produced so profound an influence
on the life and thought of a people as the Ramayana." On September 2007
this observation was re-enacted when the Archaeological Survey of India
got deadlocked in a legal battle with the Hindu political hardliners over
a shipping canal project in the Indian Ocean known as the Project
Sethusamudram.  The project involves destruction of a series of
underwater islands built of sand and limestone and are  otherwise known
as Rama's bridge. According to a popular Hindu belief, the army of monkeys
that helped Rama to reach Lanka, also built this bridge. On September 11,
2007 the Archeological Survey of India published a report  stating that
the bridge is a natural formation and that there is no scientific proof
that supports the belief that this bridge was built by Rama's army.
Moreover they also stated that Valmiki's Ramayana or Tulasidas's
Ramcharitmanas are mythological stories and hence cannot be accepted as
"historical" truths. Following this report, the world saw an
unprecedented wave of support in favor of keeping the bridge. Support
also came from the diasporic Hindu political groups,  followed by
prolonged political and social agitations by the proponents of Hindutva
in India. Finally, on September 14, the Indian government had to relent
and declare publicly that Rama was, indeed, of a "historical" character
and that the language of the ASI report requires a thorough revision.

This is a classic example of how Ramayana remains enmeshed within the
complexities of the communal quotidian life of South Asia in significant
and complicated ways as a "living epic." A "living epic," therefore, is a
cultural-textual entity that, unlike the textually fixed canonical
versions of the western epic tradition, continues to evolve and morph in
multiple narrative modes and plot-outlines, often contesting and
complicating each other. Thus, "living epics," by definition, resist
attempts to be tied down to official, standardized versions. This becomes
especially evident if we attempt to compare the respective ideological
universes of the medieval North Indian poet Tulasidas' Ramcharitmanas, an
attempt to interpret Ramayana from a Bhakti perspective and Michael
Madhusudan Dutta's nineteenth century rendition of the epic in
Meghnadabadh Kavya (The Slaying of Meghnada). Similarly, one can also
contend that the other South Asian epic Mahabharata too operates as a
complex epic tradition with multiple and often contesting cultural forms.
As the noted Indian folklorist A.K. Ramanujan reminds us, The Mahabharata
provides materials and allusions to every artistic genre--from plays to
proverbs, from folk performances to movies and T.V. Indeed, the
Mahabharata and the Ramayana have appeared as serials, week after week in
popular Tamil weeklies. When they were published by Bharatiya Vidya Bhavan,
they became and probably still are, the most read paperback renditioned in
English of the epics [...] Thus, a text like the Mahabharata is not a text but
a tradition.

This panel is interested in exploring the scope of the South Asian and
other non-western living epics as they evolve in interactions with
multiple literary and artistic forms, influencing a culture's religious,
political and social dimensions and invoking multitude of audience
reactions and responses.
    Questions that the contributions might address include but are not limited to:

-- What role do living epics play in constructing national identities and
        imagined communities?
-- How have the epic traditions in India/South Asia contributed to the
        consolidation and reification of the dominant classed/gendered/
        casteicized hegemony? Similarly, how have the epics been used by
        the marginalized groups in South Asia as modes of narrative and
        political resistance? (One can think of the distinctly "women's
        perspective" presented in Chandrabati and Molla's attempts to
        rewrite Ramayana from Sita's point of view, or, the multiple
        re-interpretations of the Slaying of Sambuka episode of the
        Ramayana by the Dalit artists and writers)
--Is it possible to think of the re-interpretations of the epics as
        falling into predominantly two different kinds--the authoritative
        telling and the oppositional telling(as scholars like Paula
        Richman has suggested)?
--What were the narrative/artistic/ideological/political choices made by
        19th/20th century South Asian writers and artists when they
        revisited the epics?
--How are identities and histories performed within the performative
        genre of the epic?
--How have epics functioned in diaspora (e.g. The Ramlila in Caribbean or
        Fiji, the televised epics and the Indian Diaspora, the Diaspora
        and the Hindu fundamentalist politics)?
--How have Indian epics influenced the culture industry, both within and
        outside India? ( TV serials, comic books, Bollywood films, anime,
        cartoons)
-- How does a folkloristic approach complicate our knowledge and study of
        the India epics?
--Are these concerns generic to all living epics?
--What is the pertinence of these questions with respect to living epics
        that are beyond the realms of South Asian tradition?
--Can these questions be addressed in context to a mythological character
        that does not belong to any epic tradition per se but have similar
        importance among its significant audience as epic characters?

Paper proposals can be submitted on the ACLA web site at
http://www.acla.org/acla2008/?page_id=5.

Seminar Organizers: Nandini Dhar
University of Texas at Austin(
nandinid@mail.utexas.edu)
Ronita Bhattacharya
University of Georgia
(ronitab@uga.edu)
[ 本帖由 木兰 于 2007-10-23 05:04 最后编辑 ]

宜家

国际交流的好消息。顶起！