Comparative Literature Theses and Dissertations

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Browsing Comparative Literature Theses and Dissertations by Author "Gopal, Sangita"

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    Dear Reader, Good Sir: Birth of the Novel in Nineteenth-Century Bengal
    (University of Oregon, 2017-09-27) Bhattacharya, Sunayani; Gopal, Sangita
    My dissertation traces the formation and growth of the reader of the Bengali novel in nineteenth century Bengal through a close study of the writings by Bankimchandra Chattopadhyay that comment on—and respond to—both the reader and the newly emergent genre of the Bengali novel. In particular, I focus on the following texts: two novels written by Bankim, Durgeśnandinī (The Lady of the Castle) (1865) and Bishabṛksha (The Poison Tree) (1872), literary essays published in nineteenth century Bengali periodicals, personal letters written by Bankim and his contemporaries, and reviews of the novels, often written and published anonymously. I suggest that by examining the reader of the Bengali novel it becomes possible to understand how the individual Bengali negotiates the changes occurring in nineteenth century Bengal—an era in which traditional beliefs collide with the intellectual and technological innovations brought on by colonial modernity. As my dissertation shows colonialism is far from being a disembodied institution operating at the level of governments and ideologies. Instead, it becomes evident that with the novel, colonial modernity enters the Bengali home in the form of changing moral paradigms. What the Bengali reader chooses to read, and how she performs her reading come to have a real import in her quotidian life. The three sites of reading I examine—the reader as a textual event in the novels, the reader as imagined in the literary essays, and the anthropological reader writing and responding to the reviews of the novels—revitalises the overdetermined field of the postcolonial novel by shifting the focus from the novel as a stable literary object being consumed by a relatively passive reader, to an active reader whose reading practice shapes both the genre and the subject reading it.
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    Ruling Aesthetics: Intermediality, Media Modernity and Early Thai Cinema (1868-1942)
    (University of Oregon, 2020-09-24) Chunsaengchan, Palita; Gopal, Sangita
    My dissertation investigates the unexplored connections among cinema, prose and poetry in Thai history, extending from the period of the reign of King Chulalongkorn (1868-1910) through the decade following the Siamese Revolution of 1932. Across the various chapters, I expand the archives both of early Thai cinema and Thai literary history. I draw together readings of Sanookneuk (1886), the first fictional work of Thai prose, film reviews written as Thai poetry (1922), governmental letters calling for censorship of the purportedly first Thai film (1923), as well as promotional essays in English on the state-sponsored film, The King of the White Elephant (1941). I consider how early cinema not only destabilizes a rigid structure of a national historiography, but also shapes interactions between different social classes. The dissertation traces three pivotal conceptions of cinema: first as a disciplinary technology, then as popular culture, and finally as a nationalized mass medium. My dissertation accounts for cinema’s entanglements with other media, for how these entanglements profess aesthetic instructions that become a dispositif of the modernizing Thai state as well as for how cultures of cinema and media in Siam manifest and respond to the national project of modernization. The negotiation between cinema, media and modernity reveals natures of different sovereign powers as well as complexities of the institutional politics in staging and managing the formation of Thai modernity. I, therefore, deploy the term “media modernity,” in my dissertation to capture such problematics and discussions of the intertwinement of early cinema, media and modernization and, yet, to also complicate some hegemonic accounts in Thai history that often isolate cinema from the epistemological constructions and sensibilities of modernity as well as separate aesthetic regimes from the politics of the nation.
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    The Melodramatics of Turkish Modernity: Vurun Kahpeye [Strike the Slut] and its Cinematic Afterlife
    (University of Oregon, 2019-01-11) Germen, Baran; Gopal, Sangita
    Proposing melodrama as an aesthetics of victimhood, my dissertation examines the intermedial itineraries of notable feminist Halide Edib’s Vurun Kahpeye [Strike the Slut]. Originally serialized in 1923 and published as a novella in 1926 in Ottoman Turkish, Vurun Kahpeye was translated into modern day Turkish in 1946. The melodramatic story was then adapted for screen three times in 1949, 1964, and 1973, respectively, by Ömer Lütfi Akad, Orhan Aksoy and Halit Refiğ. With the circulation of these films on TV, the title Vurun Kahpeye has since the 90s morphed into an idiom designating the unjust treatment of the innocent. The persistent repetition of Vurun Kahpeye across media, I suggest, signifies melodrama’s aesthetic durability due to its affective excess: its efficacy in making a disaffected public experience its own victimhood. Thus, my dissertation provides an archeology of melodrama as a political technology through a reading of each of Vurun Kahpeye’s media iteration as embedded in its socio-historical context. In this account, the affective medium of cinema emerges as the main site for the formation of a secular mass public by linking secularism to structures of feeling rooted in victimization, suffering, and injury. And yet, the affective excess of melodrama, I demonstrate, renders Vurun Kahpeye’s normative project unstable and uncontainable with each iteration. At different moments in time, Vurun Kahpeye is a queer text exposing the heteropatriarchal nature of secular nationalism; lays the infrastructural, spectatorial, and aesthetic foundation of the classical cinema of Turkey; and serves as the project of a social realist, counter-populist, and anti- Western theory of cinema. Therefore, this dissertation traces the conflicting projections, aspirations, and feelings central to Turkish republican modernity that congeal and clash in, through, and around Vurun Kahpeye.