Analysis Of Sinhala As An Interethnic Conflict In Sri Lanka
The worldly-wise in Sri Lanka too, when called upon to describe the current turmoil in their island nation, do so by calling it an interethnic conflict. They may refine this bit of fundamental information by adding Sinhala is a language that belongs to the Indo-Aryan family of languages, its speakers, mostly Buddhists, making up the island’s majority; Tamil is a language belonging to the Dravidian family of language and is spoken by the island’s most populous minority, who are most likely to be Hindus. One immediately senses the mighty hand of nineteenth-century Orientalist scholarship beginning to cast its long shadow of the classification of languages on the political and demographic landscape. (AG-15) A strong challenge
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Literary obligation become literary cognition representation thus appears again. Because such ethically-charged phenomena as violence and catastrophe are particularly unaffected to illustration, any effort at on behalf of them will always already be haunted by a heightened, of indeed not anxious, self-consciousness riven by both aesthetic and ethical concerns. They express this twin problem of illustration and ethics as the semioethical. The problem becomes adjoining with its own solution any representation will be an auto-representation, an auto-critique, launched from the domain of the semioethical …show more content…
Ismail argues that ‘culture’ and ‘violence’ are not categories central to the Sri Lankan debate. For him, the debate: “Does not turn around culture or violence, but the terms nation, majority, minority and democracy. To speak to the question of peace in Sri Lanka in the current conjecture is to address their relation”. (AG-306)
For Ondaatje, the discourse of human rights also becomes a way of arranging violence in Anil’s Ghost. A paradigm of universal human rights enables the arranging of the novel’s plot in a form similar to that of a detective novel. The narrative motor driving the novel forward thus becomes an investigation, a search for the truth of the environments of sailor’s death. Anil’s official intervention allows for multiple implications within the text:
• Comments on the West and how it may differ from
Literary obligation become literary cognition representation thus appears again. Because such ethically-charged phenomena as violence and catastrophe are particularly unaffected to illustration, any effort at on behalf of them will always already be haunted by a heightened, of indeed not anxious, self-consciousness riven by both aesthetic and ethical concerns. They express this twin problem of illustration and ethics as the semioethical. The problem becomes adjoining with its own solution any representation will be an auto-representation, an auto-critique, launched from the domain of the semioethical …show more content…
Ismail argues that ‘culture’ and ‘violence’ are not categories central to the Sri Lankan debate. For him, the debate: “Does not turn around culture or violence, but the terms nation, majority, minority and democracy. To speak to the question of peace in Sri Lanka in the current conjecture is to address their relation”. (AG-306)
For Ondaatje, the discourse of human rights also becomes a way of arranging violence in Anil’s Ghost. A paradigm of universal human rights enables the arranging of the novel’s plot in a form similar to that of a detective novel. The narrative motor driving the novel forward thus becomes an investigation, a search for the truth of the environments of sailor’s death. Anil’s official intervention allows for multiple implications within the text:
• Comments on the West and how it may differ from