Ebim Matthew Abua^1*, Enya Inok-Kuti Ebak², Gloria Mayen Umukoro³, Ayeni Queen Olubukola⁴  & Bassey Ekpenyong Anam^5 
1Department of English and Literary Studies, University of Calabar, Nigeria. *Corresponding author.
²Department of Linguistics and Communication Studies, University of Calabar.
³,4Department of Modern Languages and Translation Studies, University of Calabar.
⁵Institute of Public Policy and Administration, University of Calabar.

^{Rupkatha Journal, Vol. 17, Issue 1, 2025. https://doi.org/10.21659/rupkatha.v17n1.01g
Full-Text PDFIssue Access}
Abstract

This study examines the electoral gains achieved in West Africa by focusing on the presidential elections in Nigeria (2015), Liberia (2023), and Ghana (2024), respectively. Generally, elections in developing democracies are viewed as a ‘war’ with an ideological posturing of ‘win’ or ‘mar’ the process. However, the 2015, 2023, and 2024 presidential elections held in the three West African countries represent a paradigm shift from the usual rancorous aftermath of elections to a more peaceful atmosphere. The losers in these elections, who were sitting presidents in the three countries in focus, not only accepted their defeats but also congratulated their opponents—a feat that had never been achieved on the entire African continent. Data for the analysis were elicited from online reactions to the declaration of the elections in focus. For a more precise understanding, the data from the Nigerian elections are labelled as NGR, while those from Liberia are labelled as LBR, and the Ghana elections data are labelled as GHA, as captured in the analysis. The analysis reveals cases of political reawakening, consciousness, and maturity in a hitherto politically tense continent that is just emerging from ethnic and militia wars, military regimes, and truncated democratic experiences. This study aims to expand the literature on political maturity, which can help deliver political dividends rather than backbiting, warfare, disintegration, and acrimony. 

Keywords:CDA, Evolving Political Culture, West Africa, Nigeria, Liberia, Ghana, Presidential Elections.

Harrie U.M. Bazunu¹ , Patience A. Edo², Celestina O. Isiramen³ & Peter O. O. Ottuh^4*  
1Senior Lecturer, Department of Fine and Applied Arts, Delta State University, Nigeria.
²Lecturer I, Department of Fine and Applied Arts, Delta State University, Nigeria.
³Professor, Department of Religious Management and Cultural Studies, Ambrose Alli University, Nigeria.
⁴Professor, Department of Religious Studies and Philosophy, Delta State University, Nigeria. *Corresponding Author

^{Rupkatha Journal, Vol. 17, Issue 1, 2025. https://doi.org/10.21659/rupkatha.v17n1.02
Full-Text PDFIssue Access}
Abstract

This study examines the role of robotic assistance in preserving cultural artifacts, with a particular emphasis on Bini artifacts in Nigeria. The objective is to mitigate the loss of Bini artifacts, which contain cultural treasures representing the pride and distinctiveness of the Bini people in Nigeria. Robots are considered a critical possibility in this context, as they can function remotely in hazardous areas and protect cultural artifacts. This study employs a phenomenological methodology, using semi-structured interviews with museum curators, robotics scientists, and cultural heritage preservationists. The results indicate that the design and application of robotic devices, such as drones, arms, mobile robots, cameras, sensors, and excavators, can engage with and preserve the Bini artifacts. This research suggests a promising avenue for studying robotic engagement in global digitized conservation efforts, reconstruction, and the curation of cultural items in the twenty-first century and beyond.

Keywords:Robotic Intervention, Preservation, Bini, Cultural Artifacts, Art, Religion, Africa, Nigeria.

Pragati Das^1*  & Mita Bandyopadhyay^2 
1 Research Scholar, Techno India University, West Bengal & Faculty, PG Dept of English, Bhatter College, Dantan. *Corresponding author.
² Assistant Professor, Techno India University, West Bengal.

^{Rupkatha Journal, Vol. 16, Issue 4, 2024. https://doi.org/10.21659/rupkatha.v16n4.11
Full-Text PDFIssue Access}
Abstract

Visual art plays a crucial role in the music industry; it is not merely a marketing tool but also a fundamental part of the narrative and emotional impact of music. This is especially true for Leonard Cohen, who practiced visual art himself and had an acute sense of the visual elements of his album covers. This article examines the interrelationship between the visual elements of Cohen’s album covers and the music within. By analyzing five representative albums spanning nearly 50 years—Songs of Leonard Cohen (1967),New Skin for the Old Ceremony (1974),I’m Your Man (1988),Ten New Songs (2001), andYou Want It Darker (2016)—this study demonstrates how Cohen meticulously crafted the album covers as intellectual extensions of his poetic vision. Through archival research and visual and textual analysis, this paper explores both the general cultural and technological contexts that influenced the visual aesthetics of the albums, and the personal intellectual contexts responsible for variations in design. Thus, the study presents a comprehensive analysis of the visual aesthetics of Cohen’s albums that began amidst the cultural upheaval of the 1960s and concluded in the second decade of the present century, a period during which the production, distribution, and consumption of music underwent a complete transformation.

Keywords:Leonard Cohen, album covers, visual study, music.

Gouthaman K J 
Assistant Professor, Department of English, Koneru Lakshmaiah Education Foundation, Hyderabad-500075, Telangana, India.

^{Rupkatha Journal, Vol. 16, Issue 3, 2024. https://doi.org/10.21659/rupkatha.v16n3.10g
Full-Text PDFIssue Access}

Abstract

The paper analyzes select images from Instagram with the hashtag #malayalambookstagram. Reliant on the theory of visual grammar and social semiotic theories about selfies and hashtags, the study demonstrates that the hashtag is used with many images that do not represent books or reading. The hashtag is reanalyzed in social media to include other ‘values’ because the language name ‘Malayalam’ indexes the ‘Malayali’ linguistic identity and recontextualizes the book-related discourse to an identity-centric domain. The paper explores Malayali linguistic identity in connection with Kerala’s achievements in social development and the community’s attitude towards it. Literacy, reading and print culture, crucial to the formation and sustenance of Malayali subnationalism, have mediated the meanings ascribed to the linguistic identity. The paper concludes that the close relationship of Malayali identity with books and reading is vital for the recontextualization of book-reviewing discourse in social media to an identity-centric discourse.

Keywords:Social Media, Reading, Identity, Bookstagram, Literacy.

Cibi T R^1*  & P. Nagaraj^2
1 Research Scholar, Department of English and Foreign Languages, Bharathiar University, Tamilnadu. *Corresponding author.
² Professor and Head, Department of English and Foreign Languages, Bharathiar University, Tamilnadu.

^{Rupkatha Journal, Vol. 16, Issue 3, 2024. https://doi.org/10.21659/rupkatha.v16n3.08g
Full-Text PDFIssue Access}

Abstract

Postmodern liberty has been a luxury to the creators to some extent. With regards to text and its functions, the viewpoint of considering everything as a text bloomed out of Derrida’s mind in hisOf Grammatology(1967). Just as postmodern literature challenges linear narratives and fixed meanings, through the analysis of Indian banknotes as textual artifacts, the interrogation of the semiotic dimensions of banknotes, and how they function as sites of ideological contestation, memory-making, and cultural representation being a text is possible. The textual analysis is performed by applying the picture theory of W.J.T. Mitchell to deconstruct the elements embedded, which in turn access the knowledge of the text’s world and how it could be part of the same. The idea of considering Indian banknotes as texts is a result of the advancements that have been happening in the printing industry. Due to such kind of never-ending upgradation, the conventional ideas of authorship, textuality, and interpretation are challenged and given a new dimension by considering Indian banknotes as subject matter. Further, the present study delineates the culture and history of the Nation as represented in the select texts.

Keywords:Postmodernism, Text, Indian banknotes, Culture, History.

Hanamant Metkari¹, Kaniphnath Malhari Kudale^2* & M Raja Vishwanathan^3
1Assistant Professor Sreenidhi Institute of Science and Technology, Hyderabad Telangana.
² Assistant Professor (Visiting) National Institute of Technology Warangal, Telangana. *Corresponding author.
³ Associate Professor National Institute of Technology Warangal Telangana.

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.18g
Full-Text PDFIssue Access}

Abstract

This paper delves into the intricate semantic nuances and sociopragmatic functions inherent in the Marathi address term“mauli” in the context of a colossal religious gathering. Through morphosyntactic analysis, it uncovers the term’s grammatical gender and its generic usage to encompass feminine and motherly attributes, embracing inclusiveness and generosity. Drawing from primary data collected duringthe Asadhi pilgrimage of 2023 through semi-structured interviews and participant observations, supplemented by secondary sources such as albums and songs, the study quantitatively and qualitatively examines the frequency and contextual use of“mauli”. Findings reveal its multifaceted sociopragmatic functions, including identity establishment, solidarity marking, politeness expression, and religiosity demonstration. However, its efficacy is constrained by temporal and spatial limitations, potentially hindering broader societal benefits. This exploration sheds light on the complex interplay between linguistic expressions, social dynamics, and religious practices within the Marathi cultural milieu.

Keywords– Address terms, Marathi language, Sociopragmatic functions, Identity negotiation, Gender discourseAsadhi pilgrimage, Mauli, Sociolinguistics, Politeness strategies, Pandharpur

Li Shijie^1*, Julia Chieng², Chan Cheong Jan^3  
1,2Department of Music, Faculty of Human Ecology, Universiti Putra Malaysia. *Corresponding author.
³Center for International Affairs, Tottori University.

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.13g
Full-Text PDFIssue Access}

Abstract:

Ti Qin Opera, a popular local performing art in Chongyang County, Hubei Province, China, was mainly performed during the birthday celebrations of the local people and the Chinese Spring Festival to enliven the atmosphere. However, in the last two decades, Ti Qin Opera has been frequently performed at funerals, forming a new practice—the mourning ritual—which has been widely accepted by the locals and has become a tradition. In this regard, two questions arise: Why does Ti Qin Opera appear at local funerals? How did the mourning ritual become a tradition? This study applies an ethnographic approach to investigate the performance of Ti Qin Opera at funerals. The emergence of the mourning ritual in funerals is attributed to the emotional need for filial piety and the local people’s competitive mentality. The family of the deceased believes that if other families hire a Ti Qin Opera troupe to perform the mourning ritual, their family should not miss out on holding this last event for the deceased. Ti Qin Opera performers rely on their reputation and prestige accumulated over the centuries, and acceptance by the locals is a key factor in making the mourning ritual a tradition. Increased economic status among the Chongyang people and, subsequently, better financial capacity to hire Ti Qin Opera troupes further contribute to the development of the mourning ritual tradition.

Keywords:Ti Qin Opera, mourning ritual, funeral, tradition.

Rishma Basumatary^1* & Teresa L Khawzawl^2
1PhD Scholar, Department of Anthropology, Cotton University, Guwahati, Assam. *Corresponding author.
²Assistant Professor, Department of Anthropology, Cotton University, Guwahati, Assam.

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.09g
Full-Text PDFIssue Access}

Abstract

The Bodos, inhabiting the foothills of the Himalayas in northeastern India, are considered the indigenous population of the region. They possess a unique cultural identity characterised by their language, beliefs, rituals, and traditions.  The primary objective of this paper is to explore the complex interrelationship between Bodo folklore and the practice of weaving, with the intention of providing insight into the culturally significant fabric that has been influenced by women’s expertise. The dynamic relationship between women’s folklore and the weaving traditions of the Bodo serves as evidence of the inherent interconnectivity of art, culture, and the human experience. By acknowledging and examining this dynamic relationship, we not only commemorate the ingenuity and perseverance of women but also get a deeper understanding of the fundamental principles that govern the Bodo society. Similar to the way in which every intricately crafted textile conveys a distinct narrative, the interconnectedness between folklore and weaving traditions serves as a collective account of resilience, cultural heritage, and timeless wisdom.

Keywords:Bodo, weaving, folklore, cultural expression, cultural heritage.

Susan Lobo
Associate Professor, Department of English, St. Andrew’s College of Arts, Science, and Commerce

Rupkatha Journal, Vol. 15, Issue 3, 2023. https://doi.org/10.21659/rupkatha.v15n3.27
[Article History: Received: 12 June 2023. Revised: 10 Sept 2023. Accepted: 11 Sept 2023. Published: 12 Sept 2023]
Full-Text PDFIssue Access

Abstract  
If myth is vital to a community, its memory must be kept alive. But how, is the question? Is it always prudent to remain faithful to the ‘original’ version of the received myth, or is it desirable to tamper with, or destabilize, the source myth? In India, mainstream versions of theRamayana and theMahabharatahave long been disrupted by folk, feminist, and queer adaptations. Reversions of these oral, transhistorical master narratives of Hinduism have made a resurgence in a post-independence India that is precariously perched between tradition and modernity, and hence more acutely desirous that its children veer closer to their roots, or so the flourishing market for myth retellings for children suggests. Amongst this incandescent body of literature is Sudha Murty’s series of five books that revisits popular stories about the gods and goddesses of the Hindu pantheon — The Serpent’s Revenge: Unusual Tales from the Mahabharata (2016), The Man from the Egg:Unusual Tales about the Trinity(2017),The Upside Down King:Unusual Tales about Rama and Krishna(2018),The Daughter from a Wishing Tree:Unusual Tales about Women in Mythology(2019), andThe Sage with Two Horns: Unusual Tales from Mythology (2021). This paper explores how these tales of antiquity, refracted and reconstructed through the author’s own personal memory, intersect with the more public and collective myth memory of the community. In reviewing Murty’s retrieval of myths by reimagining and re-situating the ‘evidentiary traces’ of myth in the here and now for the children of today, it interrogates how, if at all, the retold myths counter the metanarratives of gender, religion, culture and perhaps, history too. Finally, it argues that the genre of myth retelling must go beyond simply reviving myth memory to destabilizing myth by ‘fiddling ‘with the sacred, especially when adapted for children.

Keywords: destabilization, evidentiary traces, myth memory, myth retelling
Sustainable Development Goals: Gender Equality
Citation: Lobo, Susan, 2023. Keeping Myth Memory Alive: The Usual and the Unusual in Sudha Murty’sUnusual Tales Series.Rupkatha Journal 15:3. https://doi.org/10.21659/rupkatha.v15n3.27

Enrico Beltramini
Notre Dame de Namur University, Belmont, California, USA. 0000-0001-9704-3960

Rupkatha Journal, Vol. 15, Issue 3, 2023. https://doi.org/10.21659/rupkatha.v15n3.26
[Article History: Received: 28 August 2023. Revised: 10 Sept 2023. Accepted: 11 Sept 2023. Published: 12 Sept 2023]
Full-Text PDFIssue Access

Abstract

The vision of a post-western Christianity in India is traditionally linked to a distinct theological interpretation of Vatican II. According to such an interpretation, Vatican II was a theological revolution that favoured the openness of the Church to the world. In this article, I explore that vision through a historical, rather than a theological, interpretation of Vatican II. In Europe, Vatican II was a historical revolution that promoted the exit of Catholicism from Christendom and the establishment of a new Christian order with no links with Christendom. In India, this post-Christendom order has taken the form of a post-western order.

Keywords:Vatican II; revolution; reception; India; theology; Church; Roman Catholicism
Sustainable Development Goals: Peace, Justice and Strong Institutions
Citation: Beltramini, Enrico. 2023. The Historical Revolution of Vatican II and the Vision of a Post-Western Christianity in India. Rupkatha Journal, 15:3. https://doi.org/10.21659/rupkatha.v15n3.26