Boxid: IA Boxid_2: CH Camera: Canon EOS 5D Mark II. City: Orlando. Curatenote: shipped. Donor: bostonpubliclibrary. Kartography by Kamila Shamsie; 6 editions; First published in ; Subjects: In library, DAISY for print-disabled Download ebook for print-disabled (DAISY). Kartography [Kamila Shamsie] on raudone.info Kartography Paperback – June 7, .. Get your site here, or download a FREE site Reading App.
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What is the moment, that exact moment when everything changes and the friends you have been, become the lovers you might be? Soul mates from birth Karim. If you looking for Kartography Kamila Shamsie.. If you are areader who likes to download vw. Kartography Kamila Shamsie Pdf to any kind of device,whether its . Pakistan ABSTRACT: This research work investigates the Pakistanization of English in Kamila Shamsie's Kartography in the light of the structural models.
Kachru and Baumgardner et al. After, Kachru and Baumgardner et al. The researcher provides the tabulated presentation of Pakistani English features, semantic contexts of the native words, and hybrid innovations as found in Kartography, interlaced with their extensive analysis.
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Shamsie has employed the lexical items of thirty-one semantic areas in Kartography out of fifty —four. Though, the researcher has found some other indigenized linguistic feature of English in the novel, they would be discussed in latter part of the analysis. Before proceeding to the implications of these semantic contexts, all the thirty-one semantic contexts and their examples are give below in table 1. Table 1.
Ama ; Bhai Ram Boloo Pehlvan. Table 4. The words Bengali and Muhajir which represent two different communities , most recurrently used by the writer in the novel to reflect the ethnic division in the society. Besides these, the novel uses Pathan, Sindhi, and Punjabi in the same context to convey the different shades of meaning typically belong to the regional socio-cultural realities.
The defining characteristic of the novel is its strong regionalist identity which represents the socio-cultural life of Karachi. Therefore, an extensive use of regionalized items belongs to the category of modes of address, kinship terms, clothing, and edibles. The word yaar is most frequently used by the writer throughout the novel, as a mode of address, which is quite common in Pakistani society. The data shows a number of clothing items, mostly worn by women, such as dupatta, shalwar-kameez, and sari provides the regional touch.
Particularly, dupatta is not only a part of clothing; its proper use indicates the modesty and religiosity of the wearer and the writer has used them in both the senses. The novel has used regional kinship terms like, ami, aba, abu, amma frequently, which is typical characteristic of Pakistani English. As, these kinship terms have their own emotional connotations and used in a particular language are largely specific to that very language and society where they are spoken. But their use in English is quite meaningful because as social markers, they confirm their specificity to the local setting of the novel and significantly reassert the socio-cultural identity of the writer.
By the extensive as well as intensive use of lexical items of thirty-two semantic contexts Shamsie has blurred the boundaries of English words, phrases and sentences by inculcating words, expressions and sentence structures from regional languages with an unparallel facility of expression to represent the socio-cultural milieu of Pakistani society, in a language that is more Pakistani than foreign.
Hybrid Collocations kabab rolls, kabab roll , ; Tariq Road, Mohommad Ali Society ; student biryani ; Karachi Knee 21 ; topi tight 18 ; Sindhri mangoes ; paperwallah ; sari diaphanous 51 ; lassi stand Hybrid Lexical Sets police thaanas ; motia seller , ; Eid money 8 ; topi tight 18 ; Legcramps-e-Azam 30 ; bye-bye, bijli.
Bijli fails 85 ; Everything theek-thaak?
Hybrid Ordered Series of newspaperwallahs ; student biryani ; Words butterfly shalwar 72 ; paperwallah ; rubbish-wallah ; motia seller , ; Legcramps-e-Azam The table indicates the frequent exploitation of hybrid innovations in the novel. Most of these collocations are frequently used in Pakistani settings. Hybrid lexical sets on one hand help the writer to indigenize English and on the other hand, bring clarity and originality.
In hybrid ordered series of words. Echo-word formations aisay-waisay 7 ; silly-billy 13,86 ; Chun-mun ; tiptop, shipshape 5. Greetings Uncle! Interjections uh-huh ; Nah Vocatives oh khuda, …buss 9 ; Tobah! Idiophones Dhug-dhug. Ker-chug 14 ; whoosh, whoosh Repetition straight straight straight straight straight. Nag a ram. Nag-nag-nag nag-nagaram. Nag-a-ra-a-am As, the above mentioned examples show, a consonant, a vowel or a syllable of the base form is replaced by other phonemes to result into a type of reduplication.
As a result of language contact, this morphological characteristic has crept into South Asian Englishes and Pakistani English is no exception. Use of idiophones and indigenous greeting expressions are also found in Kartography, though they are not used frequently. Interjections and vocatives derived from regional languages reflect the culturally bound emotional expressions in Pakistani English.
Besides, the hyphenated words, she has busted words together without any consideration of conventional rules of punctuation marks, to create something new. These telescoping of words seem meaningless, but it shed light on the phenomenon of brutalization of English language in the hands of postcolonial writers. The writer has an extensive use of capital letters to emphasize different situations, ideas, thoughts or peculiarities of different characters based on the pattern of regional languages.
Although, she has selected English to write, her English is more Pakistani in nature than Standard English. She has intermingled English with regional vocabulary, syntax, idioms, expressions, mannerism and rhythms to give voice to her own society and culture. Consequently, her novel represents Pakistani society in a language compatible with the regional sentimentalities.
Though, she chooses the medium of English to write about Pakistani society, she blurs the boundaries of its words, phrases and sentences by inculcating words, expressions and sentence structures from regional languages with an unparallel facility of expression to represent the socio-cultural milieu of Pakistani society.
Thus, Shamsie indigenizes the English language by adulterating its fabric with regional words and expressions on the one hand and on the other she reasserts her socio-cultural identity in a language that is more compatible with regional culture. Her English, therefore, signify the socio- cultural variance of Pakistani society in Indigenized English rather than in the Britain English. And the excellence of Kartography lies apart from its thematic perspective, in its use of language that is English in letter but Pakistani in spirit.
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Washington D. Delhi: Oxford University Press. Her evocation of Pakistan both in during the at Kamila Shamsie is one of the best novelists I've ever read. Her evocation of Pakistan both in during the attack on what became Bangladesh and twenty-five years later, when Karachi was full of violence and chaos is detail-rich.
She doesn't explain everything for readers unfamiliar with Pakistan's history, language, and culture, trusting that they're intelligent enough to figure things out from context or look up what they don't know!
The few Urdu words sprinkled throughout the text give readers a taste of Pakistani culture, which is clearly multilayered, class-conscious, and deeply influenced by its colonial past. An enthralling novel, a history lesson, a meditation on how the past never goes away. You forget, several years later, how much you relished the first pages, how tightly the prose gripped you, how quickly you devoured it.
And so when I slammed Kartography shut, exhausted by the redundance of its last pages, I tried to separate the beginning - that I did race through - f The trouble with books that end poorly is that no matter how much you enjoyed the beginning, it's always those last few pages, that collapsed narrative, those damning passages that linger in your memory.
And so when I slammed Kartography shut, exhausted by the redundance of its last pages, I tried to separate the beginning - that I did race through - from the sorely disappointing end. Sadly I realised that despite it being fast-paced, parts of Kartography grated on me from the very beginning. Kartography is the story of Karim and Raheen, two best friends growing up in an increasingly violent Karachi.
Intriguingly and somewhat salaciously, Karim's father used to be engaged to Raheen's father and vice versa. Despite this mysterious partner swap, the families remain admirably close. The only explanation from Raheen's father for this swap is that "the music changed.
Against this suspenseful backdrop, Kartography is ostensibly a tale of children growing up in s Karachi, a period when the city was once again beset by ethnic strife. Frightened and frustrated by the violence, Karim's father decides to move the family to England, a decision that both separates the best friends and destroys Karim's parents' marriage. For reasons that Raheen - and the reader - never fully understand, Karim is never the same again.
Though they keep in touch, Karim is conflicted between his undeniable love for Raheen and a dark truth that gnaws at this helpeless love. He develops an obsession with maps, as if by lending structure to Karachi's streets, he could make sense of his beloved, imploding home. Shamsie does a decent job in driving home the irrational and fatal grasp of ethnic struggles, stressing that no one - no matter how upright - is immune from the madness of war. While making this point, she often overexplains to the point of being didactic, but it's an important message, one relevant to all wars, not just the largely forgotten Pakistani civil war.
Shamsie also evokes the constant struggle of expats between the staid comforts of the West and the love, loyalty and guilt that draws them back to their troubled homelands.
That said, one of my biggest gripes with the book from the very beginning was Shamsie's dialogue: It is unattractively witty. Every character speaks with arch self-consciousness, meaning Shamsie clearly could not separate her own voice from that of her characters. The most glaring offender is the banter between the four teenagers.
The dialogue between the kids - especially between Karim and Raheen, but Zia and Sonia were guilty too - was unrealistic and annoyingly precious.Karim, unlike Raheen and their two best friends Sonia and Zia, quickly grows out of the self-absorbed amusements of childhood and begins to think about "more important things".
When Karim is forced to leave for London their differences of opinion become a painful quarrel. In hybrid ordered series of words. A number of critics and theorists have studied the varieties of World Englishes and their distinct characteristics in detail.
English as a Lingua Franca: Attitude and Identity.
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