غلام باغ: تشکیل ، تکنیک اور ناولانہ عالم
Ghulam Bagh: Formation, Technique and the Novelistic World
DOI:
https://doi.org/10.56276/j4413967Keywords:
Construction, Epistemological Innovations, Transition Technique, Novelistic World, Social InterpretationsAbstract
There are many ways of reading a novel. Generally, the major components of the novel (characters, plot, etc.) are the focus of criticism. The linguistic resources that make up these major components of the novel are not usually analysed. A novel, like a poem, is constructed from words. It also sets the boundaries of chapters with words, paragraphs, and dialogues. Its subject, character, and different themes are formed in these stages. The political or social interpretations of the novel have their importance. Still, the analysis of the composition of the novel can illuminate the artistic resources as well as open the knots of the different elements of the novelistic world and their interrelationships. If it has a conscious complexity, it becomes necessary to make its formation the subject of analysis. The constructions, artistic tools, and techniques of Ghulam Bagh are analysed here to have a look at its novelistic world. The focus is on the details and their presentation. It is argued that Mirza Ather Baig created a fictional world that challenges the prevalent epistemological world by introducing new words and modes of representation.
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1. There can be many ways of understanding and analysing a work of art. Some of these text-centred approaches are collectively called formalist, including the New Criticism, the Chicago School, and the Prague Linguistic Circle. Despite their partial variations, they tend to make literary works of analysis the focus rather than the author or the social or historical aspects. Structural criticism, on the other hand, shows us that the novel does not merely create and organise symbols to construct meaning, but uses them to construct a human world full of meaning. The basic convention that organises the novel is the world in Jonathan Killer's eyes. As we read the novel, we see a social world, unique characters, and the relationships between the individual and society being woven through words. Colour especially gives importance to the semantics of the novel through which the above elements of the world can be created. For further discussion of this point, see: Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics and the Study of Literature (Routledge, 2002), 221.
2. Ottinger, Gwen. 2022. “Responsible Epistemic Innovation: How Combatting Epistemic Injustice Advances Responsible Innovation (and Vice Versa).” Journal of Responsible Innovation 10 (1). doi:10.1080/23299460.2022.2054306.
In his article, Gwen explains how cognitive sources such as concepts, types, and statistics are being developed in everyday life. With the help of these cognitive innovations, he has shown how the experiences of marginalised people can be understood. This concept of innovation is so important to us that novelty is inherent in the form of a novel. This novelty is not merely a novelty in the names of the characters or in the lives they are presented and their details, but also extends to the understanding of the characters themselves, and especially to the novel's presentation of them in the external world around them, and to the novel's challenging general social perceptions about them. Observation of the textual world can change our understanding of the everyday world. Such perceptual changes occur as a result of cognitive innovations.
3. Mirza Athar Baig, Ghulam Bagh (Lahore: Sanjh Publishers, 2006), 181.
4. Ibid., 188.
5. Ibid., 294.
6. Phenomenology is the philosophy of human experience. This philosophy considers the human experience to be the source of meaning and value. Therefore, according to phenomenology, the job of the philosopher is to describe the forms of experience, especially consciousness, imagination, relation to other human beings, and the presence of man in society and history. For more details, see: https://www.brown.edu/Departments/Joukowsky_Institute/courses/architecturebodyperformance/1065.html#:~:text=Phenomenology%20is%20a%20philosophy%20of,flow%20of%20the%20lived%20world.
7. James Wood, How Fiction Works (New York: Farrar, Straus and Giroux, 2008), 9-18
8. Mirza Athar Baig, Ghulam Bagh, 323.
9. Ibid., 145.
10. The narrator is not a writer, nor is he an imitator. It's a novel tool, used to tell a story. There are three types of it: the absent, the character, and the present. In most novels, the absent narrator is used, the absence of which often deceives the readers of the author. For an understanding of narrator types and their distinct functions, see James Wood's book, How Fiction Works, 3-8.
11. Mirza Athar Baig, Ghulam Bagh, 331.
12. Ibid., 358.
13. Ibid., 214.
14. Ibid., 448.
15. Ibid., 462.
16. Integration technique, the simultaneous display of events happening in different places at a particular moment. The novelist uses words or paragraphs to show the many changes that have taken place in the story in a short time. This technique is now used more in movies. Examples of this can also be found in Chinese fiction. See, for example:
Pingyuan Chen, The Change of Narrative Modes in Chinese Fiction (1898–1927) (Singapore: Springer Nature Singapore, 2022), 51
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Copyright (c) 2024 Muhammad Naeem (Author)
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