Volume 5, No. 1Volume 5, Issue 1

Researches on spatial studies, area studies, human geography and
globalisation prioritise place, and even conceptualise place as the
primary component for many tensions and conflicts concerning
identity, meaning, culture, economy and politics. This research
article probes into the place politics of the region of Kashmir to
understand the notions of victimhood and marginalisation.
Kashmir as a borderland territory, is highly exposed to the
geopolitical, religious, and ethnic conflicts. Since the region
embraces a multicultural society, differential claims over the land
in terms of ethnicity and religion provide grounds for the
emergence of divergent political perspectives. The article
compares select narratives of the Hindus and Muslims of Kashmir
to construe the problems of victimisation experienced by the
members of the community by employing John A. Agnew’s
concept of ‘place and politics’. The article discusses Siddhartha
Gigoo’s The Garden of Solitude and Farah Bashir’s Rumours of
Spring: A Girlhood in Kashmir to examine place-based attributes
which influenced the events of the 1990s like militarisation,
militant insurgency and exodus of Kashmiri pandits, further
delineating the contradictory vision of peace in the efforts of
conflict resolution in Kashmir

As a long-standing medium, literature—especially dramatic
literature—has been a source for understanding values,
contributing to culture, and informing scientific theories. Indeed,
literature is uniquely situated to make significant impacts on the
individual, the community, and beyond. Through its characters,
narratives, and symbolic patterns, literature offers archetypes and
frameworks that both reflect and shape cultural politics. Literary
figures not only embody recurring human behaviors but also
provide templates by which individuals and societies can diagnose
and describe psychological and social dynamics. In doing so,
literature serves as a mirror of human complexity while
simultaneously acting as a catalyst for change: dramatizing
injustices, reimagining identities, and offering alternative visions
of social life. The capacity of readers to engage emotionally and
critically with fictional figures allows literature to inspire empathy,
challenge entrenched norms, and contribute to collective selfunderstanding. While the Oedipus and Electra complexes have
shaped psychological discourse for more than a century, this
article proposes a new Greek myth-based complex as a framework
for analyzing mass shooters, aiming to replace existing biased
labels: the Ajax complex.

This study examines Sarah Kane’s dramatic oeuvre through the
lens of trauma theory, arguing that her plays construct a theatre of
trauma in which shock, violence, and emotional intensity serve as
instruments of cognitive transformation for the spectator. By
dismantling traditional theatrical forms and narrative coherence,
Kane redefines the relationship between performer and audience,
shifting the latter from passive observers to active participants in
trauma. Her dramaturgy functions as a mirror of postmodern
anxieties—fragmented identities, the collapse of moral systems,
and the failure of human communication—while simultaneously
seeking an ethical awakening through emotional confrontation.

This paper explores the interconnections between the natural space
and the human psyche in David Park’s novel Travelling in a
Strange Land (2018). Focus is placed on the active role of the
natural landscape in both exacerbating the protagonist’s struggle
with traumatic memories and contributing to his process of
making peace with the past. Suppressed memories buried into the
unconscious rise to the surface and unsettle Tom’s emotional and
mental state as he travels alone through the frozen landscapes of
Ireland and England to bring his ill son back home for Christmas.
In this literary work, the snowy landscape assumes a major
presence. The natural world provides stimuli that activate the
traveller’s memory and mentally transport him into times and
places that have left an indelible mark upon his psyche, while it
also acts as a sanctuary allowing Tom to reflect upon the loss of
his eldest son and bear witness to his grief and trauma. Ultimately,
this analysis brings forth the two parallel journeys that are in
progress; that is, Tom’s winter road trip and an inner journey
through mental and emotional landscapes of traumatic memory

The prominent French feminist theoreticians, namely Hélène Cixous and Luce Irigaray, challenge male discourse and
argue that it does not provide women with freedom of expression. Irigaray suggests the invention of “parler femme” as
a new dialect for challenging the social stereotypes assigned to women and reshaping female subjectivity. Irigaray’s
view is supported by Cixous, who believes that women should have a language of their own and that they should
subvert the phallocentric language through the intermediary of “l’ecriture feminine.” This new type of female discourse
is expected to deconstruct the symbolic order and to establish a new order based on a better representation of women.
Cixous’s “ecriture feminine” raises female revolutionary voices against male dialect and its misrepresentation of the
female plight. Susan Glaspell’s dramatic text in Trifles can be classified as an example of “l’ectiture feminine” because
it invites the audience to analyze female silences, puns, and new images. Indeed, the French feminist lines of thought
assist in the endeavor of comparing the differences between male and female discourses in Trifles. Unlike the male
characters who use an authoritarian style and look for concrete proof to uncover the identity of the murderer, the female
characters rely on symbols, images, intuition, metaphors, silence, tone, mood, and psychology to interpret the homicide.
Glaspell’s female characters succeed at finding out the identity of the murderer, and their investigative style is more
constructive because they dig deep into female silence, and they understand the unspoken words of Minnie Wright. On
the other hand, the male discourse fails at examining the motives of homicide because it is based on stereotypes,
authority, and repression. “Parler femme” is achieved in the play through the solidarity of Mrs. Hale and Mrs. Peters,
through their sympathy with Minnie Foster, and through their belief that domestic violence is the unjust outcome of
patriarchal oppression.
Some feminist stylisticians who analyze female style in a specific social context argue that male and female modes of
expression are different, but equal. In her “genderlect theory,” Deborah Tannen affirms that differences are sources of
richness, and “both men and women could benefit from learning each other’s styles” ( 298). This present research
focuses on the intersection between French feminism and feminist stylistics, thematic concerns, textual analysis, and
theatrical props and objects to understand the differences between male and female discourse, where, for instance,
Glaspell’s female characters choose social exile instead of duplicitous, phallocentric communication. As members of
Glaspell’s audience, we must evaluate the importance of female discourse, study Glaspell’s ideas about the richness of
female discourse and the necessity of establishing a smooth dialogue between male and female discourses, and
recognize the female playwright’s call for dismantling marginal spaces and liberating modern American women.

The nonhuman world and perspective in children’s literature are by necessity
created by human narrators, which makes human perspectives an inseparable part
of the narrative. However, while being human constructions, these narratives have
the potential to eliminate the centrality of human perspectives and foreground
nonhuman voices, as they are intended to align with the worldview of their target
audiences. In this sense, this article analyzes how children’s and nonhuman
viewpoints converge in children’s literature from the 20th-century through an
ecocritical framework. A significant part of this article is devoted to analyzing
Beatrix Potter's The Tale of Peter Rabbit (1902) and Theodor Seuss Geisel’s The
Lorax (1971) in how narratives dominated by nonhuman perspectives challenge the
Anthropocene and thereby promote environmental consciousness and ethical
engagement with the nonhuman realm among young readers. Methodologically, the
study employs close textual and multimodal analysis to examine how
anthropomorphic figures, nonhuman narrative voice, and visual–verbal storytelling
techniques contribute to ecocentric representation and portray the more-than-human
world as an eyewitness to and victim of human destruction of nature. By studying
the verbal and visual representations of the natural world through the perspectives
of beings most deeply affected by destructive human activities, this study explores
the exclusionary aspect of human-centered narratives and stresses the significance
of inclusive environmental perspectives

This paper explores the ethical positioning of the figure of Father
Krick in Mamang Dai’s The Black Hill, a novel situated in what is
now known as Arunachal Pradesh in India by bringing Postcolonial
theory into conversation with Bakhtin’s idea of moral accountability.
Through close textual analysis, it argues that Krick’s encounters with
Indigenous communities are shaped by an orientalist framework that
embeds his missionary efforts within wider imperial agendas,
ultimately contributing to epistemic and physical violence.
Employing Bakhtin’s critique of “theoretism,” the study shows how
Krick depends on rigid, repeatable images of the “Orient,” that have
historically facilitated both colonial and evangelical authority. A
Bakhtinian reading of ethical responsibility further demonstrates
Krick’s displacement of culpability onto colonial institutions,
exposing the instrumental and ethically compromised nature of his
professed “love” for the natives. By highlighting Krick’s orientalist
worldview and his refusal to recognise the interdependence of
religious and political domains, the paper challenges assumptions
about the autonomy of the religious sphere. It also situates the
novel’s critique within current debates in Arunachal Pradesh, where
renewed attention to the Freedom of Religion Act reveals how
contemporary legal ambiguities around conversion threaten to
perpetuate epistemic violence.