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By: Haider Qureshi
Year of First Edition 2009
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The article of Imran Shahid Bhender in Jadeedadab.com is indeed an eye opener.

We are very well familiar with many other qualities of Narang sahib but this
aspect is particulary interesting.Anyway, this is very unfortunate and plagiarism
should be discouraged and condemned at every level. To achieve this goal I think
wider publicity should be given to such cases.I am writing this letter to request
you to allow us to reproduce the article in a new quarterly journal launched from
Delhi. The journal 'Behs-o-Mubahisa' is started by a group of teachers and writers
from Delhi. Asif Azmi is its editor and publisher. If you allow us, we would also
like to have the matter as inpage file. I hope you would do this favour. However, if
the permission is required from Imran shahid sahib, I would request you to send
his email ID.
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jagdishpin@yahoo.com
Dear Mr. Qureshi,
Thanks for drawing attention to this thought provoking article by Prof.Naeem.
I never knew that an eminent Urdu scholar of the repute(??) of Dr. Narang
should be indulging in this kind of reprehensible act of plagairism and getting an award
for the same.
I remember a case when Mr.Narayanan, once an editor of daily " Hindustan
Times" who lifted pasages from another author's artilces and published as his own was
summarily dismissed from the editorship and has since receded into oblivion.
Knowledge is any one person's monopoly but if you rely on someone else's
views of opinion, you must gracefully acknowledge it and never pass on as your own
original work.
Jagdish Prakash
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Bhai jaan: aadab. This is only in my personal context please. I have no quarrel with
you. So, let's forget and forgive. Nothing is to appear in press. 79 years old that I am, I
have always been an uncontroversial literary figure and want to remain so, a friend to
all, till my last breath. Satyapal Anand
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Some Urdu poet has written, "baat niklay gee to phir door talak jaaey gi". Here is
another article on the recent spike of accusations re Dr. Narang. I share it without
comments.This shows you the unfortunate state of minds in Urdu literature.
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I am sharing this message from Haider sahib, who runs a web magazine from Germany
and is among the main accusers of Dr. Narang. Objectivity requires that I share it.I am
surprised at this comment, "aap kay zareeay agar narang saheb doosra round
shuru karna chhatay heN to bismillah!"
You may have noted that I rarely share any item, message, or input about Narang sahib
at our forum and in my communications.My interaction with Narang sahib is minimal.
Such accusations are at best sad indeed.
You be the judge.

Cheers.
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Hello Qureshi Sahib,Thanks. I became busy with some of my professional activities and
am currently traveling.
:ðWé~ ZtÐs§ÅyZˆÆ4âÇÆkZ
I do not have access to my forum links.Sending you this message from my blackberry
that does not provide full internet access. Regards. Munir
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Quick question? Are you a member of the forum?
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Hiader Sahib,
I have some personal questions if you cared to reply:
1. Are you a Pakistani by origin or Indian.
2. Did you live in India for a sustained period (2-3 years)
3. Did Gopi Chand Narang publish an article by you in a book titled Urdu ki Nai
BastiyaaN (I have not seen the book but a friend suggested that he may have seen
such an article)
4. Where do you live now, Germany or Denmark. My understanding is Germany
I will be going to sleep in a few minutes and will look at my mail tomorrow.
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Thanks for sending me your piece. I read it with great interest and hope
that your and Professor Naim's efforts will bear fruit. Please keep up
the good work. Warmly, Muhammad Umar Memon (U.S.A.
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Masha'allah, very well written. You are doing a great service to modern Urdu literature.I
am circulating its copies among friends and have saved it for publication in the Khabar
Namah at the prpoer time.
I also read and enjoyed your hard hitting reply to Munir Sami.
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( ‹Š ) oã9n‰ ^nßÚ very, very interesting! t]
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Thanks for drawing attention to this thought provoking article by Prof.Naeem. I
never knew that an eminent Urdu scholar of the repute(??) of Dr. Narang should be
indulging in this kind of reprehensible act of plagairism and getting an award for the
same.I remember a case when Mr.Narayanan, once an editor of daily " Hindustan
Times" who lifted pasages from another author's artilces and published as his own was
summarily dismissed from the editorship and has since receded into oblivion.
Knowledge is any one person's monopoly but if you rely on someone else's views of
opinion, you must gracefully acknowledge it and never pass on as your own original
work. J a g d i s h
Prakash
..........................................
I thank you for being so proactively persuing the question of purity of thought,
creativity and expression in Urdu making Dr.Gopi Chand Narang's case as symptomatic
of the malaise.
While this kind of plagarism is condemnable unequivocally, Mr. C.M.Naim has drawn
attention to another issue of manipulations in the corridors of powers to win partronage
and positions.This is what had happened in case of Dr.Narang.This is a weakness of
the system for which real talent suffers while mediocrity thrives.
I also wish to inform you that I am presently in Canada and will move back to India
around 25th September. Jagdish Prakash
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thanks for your e-mail . i read your clarificatory article on Dr Narang's sarqas
with interest. he seems to have crossed all limits of decency,
With regards Arshad Kamal
,
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It is an interesting debate indeed. I would try to follow both sides as a student of Urdu
literature. So far you seem to have been using proper references and that shows the
objectivity.Although these kind of Manashqaat are unfortunate for Urdu literature
however for some of us these become a great learning experience. Ahmad Safi
(karachi)
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From this post-Saussurean perspective it is clear that the theory of literature as
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differentiated by language, then the claim that realism reflects the world means that
realism reflects the world constructed in language. This is a tautology................
(Belsey, Catherine. Critical Practice, London, Routledge, 2003, P,43)
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Xì B á ( equivalence)sŠ Z%ìzz¸Xì Lg ~zq{Š c* iUÅîZ~y!* i!ÅÔì Lg
( 140) ó Xó X X X X X Xì cgq -Z »sŠ Z%Ìe $i Z á
Û zÂ6,
ÔN â k½Z ~ m, ôZkZÆTerence Hawkes[Z
We have already noticed the argument of Jakobson's fellow Prague school critic
Mukarovsky with regard to foregrounding: that the aesthetic use of language pushes
into the foreground the 'act of expression' itself. Jakobson offers the more refined
proposal that the metaphoric mode tends to be foregrounding in poetry, whereas the
metonymic mode tends to be foregrounded in prose. This makes the operation of
'equivalence' of crucial importance to poetry........(Structuralism and semiotics, 1984,

p80)
ÃM
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TodorovÔ¾;÷¢X Ù Š flavour»s Z¤
The notion that literary works are ultimately about language, that their medium is their
message, is one of the most fruitful of structuralist ideas and we have already noticed
its theoretical foundations in the work of Jakobson. It validates the post-romantic sense
that form and content are one, because it postulates that form is content. At one level,
this permits, for instance, Todorov to argue that the ultimate subject of a work like The
Thousand and One Night is the act of story-telling, of narration itself: that for the
character involved- indeed for homo loquens at large- narration equals life: 'the
absence of narration death'........... (Structuralism and Semiotics, p,100).
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C'THE MEDIUM IS THE MESSAGE':ì x ' „ y!*
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'NARRATION EQUALS LIFE: THE ó óX ]ñì È » äYƒ »Æã¹gzZì #
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P8 ÍŠ Õ Zƒt È »kZXì YY H6,100™Æ[ÂÅ¾;
XÆ™:iÃ%s§Å[ÂÅ¾;÷¢
Ôì H¾;÷¢X D™iÃ%zÂ6, -Z[Z
k½ZgzZq
We have already noticed the arguments of Jakobson's fellow Prague school critic
Mukarovsky with regard to 'foregrounding': that the aesthetic use of language pushes
into the foreground 'the act of expression' itself. Jakobson offered the most refined
proposal that the metaphoric mode tends to be foregrounded in poetry, whereas the
metonymic mode tends to be foregrounded in prose. This makes the operation
'equivalence' of crucial importance to poetry, not only in the area of analogy, but also in
the area of 'sound' of those metrical, rythmic and phonic devices,.......continue.
(Terence Hawkes, P, 80).
# ™8
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Lg Vc*
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Xì B á EQUIVALENCEósŠ Z%
bgÌZgŠkZ~~² L ìzz ¸Xì Lg ~zq{Š c*
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ó Ð ¼ÏZ {z Ôì ÌZ Åe
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æ oetic language is deliberately self-conscious, self-aware. It emphasises itself as a
P
medium over and above the 'message' it contains: it characteristically draws attention to
itself and systematically intensifies its own linguistic qualities. As a result, words in
poetry have the status not simply of vehicles for thought, but of objects in their own
right, autonomous concrete entities, In Sausure's terms, then, they cease to be
'signifiers' and become 'signifieds', ...(P, 63-64).
: ˜ r# ™8 -g **
Zƒ yÒ )g fÆkZ Ô™ƒ F, — Ð x ' c* qçñt Xì Cƒ kÙŠpgzZ { Ç WŠpt Ôì CÑŠ kˆZ »Šz LZ ùMy!* i ~ÄL L
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X ( 89Ôm)ì ~g Yó óX X X D Y0signifiedÉ Tg7signifiers
Û g¨6,
ÔN â k½ZkZÆ¾;÷¢
Formalist theory realised that the 'meaning' habitually carried by words can never be
fully seperated from the words themselves because no word has 'simple' one meaning.
The 'meaning of A is not simply A1 or A2 or A3, for A has a larger capacity to mean
which derives from its particular context or use. No word is ever really a mere proxy for
a denoted object. Infact the transaction of 'meaning' has a coplexity of dimensions
which the 'poetic' use of language further complicates. Poetry, in short, does not
seperate a word from its meaning, so much as multiply - bewildering - the range of
meanings available to it... (P, 64).
:s Z eÃ6, # ™8
k½ZkZÆr -g **
»³ZXì *
@YŒxk!* .8ÐÂpgzZÐpÂ åkˆZ »kZÃVzIˆL L
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A7{Š ‚ ÚZx Â»pgzZÔ M
+8™ïÐV/}uzŠgzZÐt òzt (pÆ³ZèYì 73³ Z c*
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ì‡ÃÂp¤
gÒƒ
Cƒïq ÅªÅ[<Zz ]ª c*
wì êL ÒZ ãJ1t ÅpXì C™ Za Ã b : é5E
Û µ¸ CG 4›!ªÔì Cg ¸ZÃ]**
kZ ½ ¢
X ( 89Ôm )ì ~g Yó Xó X X X X X X Xì
Ô˜y åHÓG 5_ðZgWz6,
There is another stand in poststructuralist thought which believes that the world is more
than a galaxy of text, and that some theories of textuality ignore the fact that the
discourse is involved in power. They reduce political and economic forces, and
ideological and social control, to aspects of signifying processes. When a Hitler or a
Stalin seems to dictate to an entire nation by wielding the power of discourse, it is
absurd to treat the effect as simply occurring within discourse. It is evident that real
power is exercised through discourse, and that this power has real effects....... The
father of this line of thought is the German philosopher Nietzsche, who said that people
first decide what they want and then fit the facts to their aim: 'Ultimately man finds in
things nothing but what he himself has imported into them.' All knowledge is an
expression of the 'will to power'.This means that we can not speak of any absolute
truths or of objective knowledge.... Foucault regards discourse as a central human
activity, but not as a universal, 'general text', a vast sea of signification. He is interested
in the historical dimention of discursive change. What it is possible to say will change
from one era to another. In science a theory is not recognised in its own period if it deos
not conform to the power consensus of the institutions and official organs of science.
Mendel's genetic theories fell on deaf ears in the 1860s; they were promulgated in a
'void' and had to wait until the twentieth century for acceptance. It is not enough to
speak the truth; one must be 'in the truth'.
(Selden, Raman. Contemporary Literary Theory,3rd ed, Britain,1993,P158-159)
$YÅ ºuÆ8
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°ï** 5_Wz6,
Jonathan Culler (see also chapter 5) has argued that a theory of reading has to
uncover the interpretative operations used by readers. We all know that different
readers produce different interpretations. While this has led some theorists to
despair of developing a theory of reading at all, Culler argues in The Pursuit of
Signs (1981) that it is this variety of interpretation which theory has to explain.
While readers may differ about meaning, they may well follow the same set of
interpretative conventions.... (Selden, P62).
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‰‘6, 5_
The word 'revolution' in Kristeva's title is not simply metaphoric. The possibility of radical
social change is, in her view, bound up with the disruption of authoritarian discourses.
Poetic language introduces the subversive openness of the semiotic 'across' society's
'closed' symbolic order: 'What the theory of the unconscious seeks, poetic language
practices, within and against the social order.' Sometimes she considers that the
modernist poetry actually prefigures a social revolution which in the distant future will
come about when society has evolved a more conplex form. However, at other times
she fears that bourgeois ideology will simply recuperate this poetic revolution by treating
it as a safety valve for the repressed impulses it denies in society. Kristeva's view of the
revolutionary potential of women writers in society is just as ambivalent....
(Selden, P142).
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ðExistentialism, on the contrary, preaches the total freedom of the individual constantly
to change..... Barthes, like Sartre, pits therefore the fluidity, the anarchy, even, of
existence against the rigor mortis of essentialism; not least because, again following
Sartre, he sees essentialism as the ideology which sustains that tradional bugbear of all
French intellectuals, the bourgeoisie... he writes at the conclusion of his most feroriously
anti-bourgeois book, the devastating Mythologies (1957.........
In one way, Barthes goes beyond Sartre in his abhorrence of essentialism. Sartre, as
so far as one can see, allows the human person a certain integrity or unity; but Barthes
professes a philosophy of disintegration, whereby the presumed unity of any individual
is dissolved into a plurality or discontinuous. This biography is especially offensive to
him as a literary form because it represents a counterfeit integration of its individual. It is
a false memorial to a living person.......
(Sturrock, John. Structuralism and Since. London, Oxford University Press,1979, P 53)
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his arch enemy is the doxa, the prevailing view of things, which very often prevails to
the extent that people are unaware it is only one of several possible alternative views.
Barthes may not be able to destroy the doxa but he can lesson its authority by localizing
it, by subjugating it to a paradox of his own......
Barthes is only fully to be appreciated, then, as some one who set out to disrupt as
profoundly as he could the orthodox views of literature he found in France...........The

grievances against contemporary criticism with which Barthes began were deeply
influential on what he came to write later. There were four main ones. First, he objected
that literary criticism was predominantly ahistorical, working as it did on the assumption
that the moral and the formal values of the texts it studied were timeless.....Barthes was
never a member of the Communist party - let us say neo-Marxist objection. He
dismissed existing histories of French literature as meaningless choronicles of names
and dates... (Sturrock, P, 54-55)
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Barthes's second complaints against academic criticism was that it was psychologically
naive and deterministic....when critics chose to explain textual data by biographical
ones, or the work by the life....The elements of a literary work - and this is an absolutely
central point in literary structuralism - must be understood in the first instance in their
relationship to otherelementsofthatwork.....(Sturrock,P,56)
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They could see only one meaning in the texts they concerned themselves with, and that
one meaning was usually a very literal one. This they subsequently held the meaning of
the text, and that to search further for supplementary or alternative meanings was futile.
They were men of narrow and autocratic temper who fancied they were being scientific
when they were merely being culpably dogmatic. Their minds were closed to the
ambiguities of language, to the co-existence of various meaning within a single form of
words,....... (Sturrock, P 57-58)

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Attempting to distinguish between constant and variable elements in a collection of a
hundered Russian fairytales, Propp arrives at the principle that though the personage of
a tale are variable, their functions in the tales are constant and limited. Describing
function as "an act of a character, defined from the point of view of its significance for
the course of the action," Propp developed inductively four laws which put the study of
folk literature and of fiction itself on a new footing. I their baldness and universality, laws
3 and 4 have the shocking effect of certain scientific discoveries:
1. Functions of characters serve as stable, constant elements in a tale, independent of
how and by whom they are fulfilled. They constitute the fundamental components of a
tale.
2. The number of function known to the fairy-tale is limited.
3. The sequence of functions is always identical.
4. All fairy tales are of one type in regard to their structure.
(Morphology of the Folktale, pp. 21,22,23)
In comparing the functions of tale after tale, Propp discovered that his total numbers of
functions never surpassed thirty-one, and that however many of the thirty-one functions
a tale had (none has every one) those that it had always appeared in the same order....
After the initial situation, in which the members of a family are enemerated or the future
hero is introduced, a tale begins, consisting of some selection of the following functions
in the following order:
1. One of the members of a family absents himself from home.
2. An interdiction is addressed to the hero.
3. The interdiction is voilated.
4. The villain makes an attempt at reconnaissance.
5. The villain recieves information about his victim.
6. The villain attempts to deceive his victim in order to take possession of him or of his
belongings.
7. The victim submits to deception and thereby unwittingly helps his enemy.
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The last half of the nineteenth century and the last half of the twentieth were
charecterized by the fragmentation of knowledge into isolated disciplines so formidable
in their specialization as to seem beyond all synthesis. Even philosophy, the queen of
the human sciences, came down from her throne to play solitary word games. Both the
language -philosophy of Wittgenstein and the existentialism of the Continental thinkers
are philosophy of retreat......
Scholes, Structuralism in Literature, New York, Vail-Ballou Press,1974, p,1)
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Derrida's professional training was as a student of philosophy (at the Ecol Normale
Superieure in Paris, where he taught until recently), and his writings demand of the
reader a considerable knowledge of the subject. Yet Derrida's texts are like nothing else
in modern philosophy, and indeed represent a challenge to the whole tradition and
self-understanding of that discipline.
Norris, Christopher. Deconstruction.3rd ed, London, Routledge,2002, P18-19)
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Derrida refuses to grant philosophy the kind of privileged status it has always claimed
as the sovereign dispenser of reason. Derrida confronts this pre-emptive claim on its
own chosen grounds. He argues that philosophers have been able to impose their
various systems of thought only by ignoring, suppressing, the disruptive effects of
languages. His aim is always to draw out these effects by a critical reading which
fastens on, and skilfully unpicks, the elements of metaphor and other figural devices at
work in the texts of philosophy. Deconstruction in this, its most rigorous form acts as a
constant reminder of the ways in which language deflects or complicates the
philosophers project. Above all deconstruction works to undo the idea-according to
Derrida, the ruling illusion of Western metaphysics- that reason can somehow dispense
with language and achieve a knowledge ideally unaffected by such mere linguistic
foibles. Norris, P18-19). (
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In this sense Derria's writings seem more akin to literary criticism than philosophy. They
rest on the assumption that modes of rhetorical analysis, hitherto applied mainly to
literary texts, are infact indispensable for reading any kind of discourse, philosophy
included. Literature is no longer seen as a kind of poor relation to philosophy,
contenting itself with mere fictive or illusory appearances and forgoing any claim to
philosophic dignity and truth. This attitude has, of course, a long prehistory in Western
tradition. It was plato who expelled the poets from his ideal republic, who set up reason
as a guard against the false beguilements of rhetoric, and who called forth a series of
critical 'defences' and 'apologise' which runs right through from Sir Philip Sydney to I. A.
Richards and the Americans new critics. The lines of defence have been variously
drawn up, according to whether the critic sees himself as contesting philosophy on its
own argumentative ground, or as operating outside its reach on a different - though
equally privileged - ground. (Norris,P19)
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The counter-arguments to deconstruction have therefore been situated mostly on
commonsense, or 'ordinary-language' ground. There is support from the philosopher
Ludwig Wittgenstein (1889-1951) for the view that such sceptical philosophies of
language rest on a false epitemology, one that seeks (and inevitably fails) to discover
some logical correspondence between language and the world. Wittgenstein himself
started out from such a position, but came round to believing that language had many
uses and legitimating 'grammars', non of them reducible to a clear-cut logic of
explanatory concepts. His later philosophy repudiates the notion that meaning must
entail some one-to-one link or 'picturing' relationship between propositions and factual
status of affairs. Languages now conceived of as a repertoire of 'games' or enabling
conventions, as diverse in nature as the jobs they are require to do (Wittgenstein 1953).
The nagging problems of philosophy most often resulted, Wittgenstein thought, from
the failure to recognise multiplicity of language games. Philosophers looked for logical
solutions to problems which were only created in the first place by a false conception of
language, logic and truth. Scepticism he argued, was the upshot of a deluded quest for
certainty in areas of meaning and interpretation that resist any such strictly regimented
logical account. (Norris, P127-128).
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Eagleton, like Althusser, argues that criticism must break with its 'ideological prehistory'
and become a 'science'. The central problem is to define the relationship between
literature and ideology, because in his view texts do not reflect historical reality but
rather work upon ideology to produce an effect of the 'real'. The text may appear to be
free in its relation to reality (it can invent characters and situations at will), but it is not
free in its use of ideology. 'Ideology' here refers not to formulated doctrines but to all
those systems of representations (aesthetic, religious, judicial and others) which shapes
the individuals mental pictures of lived experience. The meanings and perceptions
produced in the text are a reworking of ideologie's on working of reality. This means
that the text works on reality at two removes. Eagleton goes on to deepen the theory by
examining the complex layering of ideology from its most general pre-textual forms to
the ideology of the text itself. He rejects Althusser's view that literature can distance
itself from ideology; it is a complex reworking of already existing ideological discourses.
However, the literary result is not merely a reflection of other ideological discourses but
a special production of ideology. For this reason criticism is concerned not with just the
laws of literary form or the theory of ideology but rather with 'the laws of the production
of ideological discourses as literature'.
Eagleton surveys a sequence of novels from George Eliot to D.H Lawrence in order to
demonstrate the interrelations between ideology and literary form.... Eagleton examines
each writer's ideological situations and analyses the contradictions which develope in
their thinking and the attempted resolutions of the contradictions in their writing. After
the destruction of liberal humanism in the first world war Lawrence developed a
dualistic pattern of 'female' and 'male' principles. This antithesis is developed and
reshuffled in the various stages of his work, and finally resolves in the characterisation
of mellors (Lady Chatterley's Lover) who combines impersonal 'male' power and
'female' tenderness. This contradictory combination, which takes various forms in the
novels,canbe related toa 'deep-seated ideological crises'withincontemporarysociety.
The impact of poststructuralist thought produced a radical change in Eagleton's work in
the late 1970s. His attention shifted from the 'scientific' attitude of Althusser towards the
revolutionary thought of Brecht and Benjamine. This shift had the effect of throwing
Eagleton back towards the classic Marxist revolutionary theory of the Thesis on
Feuerbach (1845): 'The question whether objective truth can be attributed to human
thinking is not a question of theory but is a practical question...The philosophers have
only interpreted the world in various ways; the point is to change it'. Eagleton believes
that 'deconstructive' theories, as developed by Derrida, Paul de Man and others can be
used to undermine all certainties, all fixed and absolute forms of knowledge..............
RamanSeldon,ContemporaryLiteraryTheory,3rded,Britain,1993,P,92-93.
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In America, where the labour movement has been partially corrupted and totally
excluded from political power, the appearance of a major Marxist theorist is an
important event. Jameson believes that in the post-industrial world of monoply
capitalism the only kind of Marxism which has any purchase on the situation which
explores the 'great themes of Hegel's philosophy - the relationship of part to whole, the
opposition between concrete and the abstract, the concept of totality, the dialectic of
appearance and essence, the interaction between subject and object'. For dialectical
thought there are no fixed and unchanging 'objects'; an 'object' is inextricably bound up
with a larger whole, and is also related to a thinking mind which is itself part of a
historical situation. Dialectical criticism does not isolate individual literary works for
analysis; an individual is always a part of a larger structure (a tradition or a movement)
or part of a historical situation. The dialectical critic has no pre-set categories to apply to
literature and will always be aware that his or her chosen categories (style, character,
image, etc.) must be understood ultimately as an aspect of the critics on historical
situation........ A Marxist dialectical criticism will always recognise the historical origins of
its own concepts and will never allow the concepts to ossify and become insensitive to
the pressure of reality. We can never get outside our subjective existence in time, but
we can try to break through the hardening shell of our ideas 'into a more vived
apprehension of reality itself'.
His The Political Unconscious (1981) retains the earlier dialectical conceptio of theory
but also assimilates various conflicting traditions of thought (structuralism,
poststructuralism, Freud, Althusser, Adorno) in an impressive and still recognisably
Marxist synthesis. Jameson argues that the fragmented and alienated condition of
human society implies an original state of primitive communism in which both life and
perception were collective.............. All ideologies are 'strategies of containment' which
allow society to provide an explaination of itself which suppresses the underlying
contradiction of history; it is history itself (the brute reality of economic Necessity) which
imposes this strategy of repression. Literary texts work in the same way: the solutions
which they offer are merely symptoms of the suppression of history. Jameson cleverly
uses A.J Greimas' structuralist theory (the 'semiotic rectangle') as an analytic tool for his
own purposes. Textual strategies of containment present themselves as formal
patterns. Greimas' structuralist system provide a complete inventry of possible human
relations... which when applied to a text's strategies, will allow the analyst to discover
the posibilities which are not said. This 'not said' is the represses history.
Jameson also developes a powerful argument about narrative and interpretation. He
believes that narrative is not just a literary form or mode but an essential
'epistemological category'; reality presents itself to the human mind only in the form of
the story. Even a scientific theory is a form of story.
( Seldon, P, 95-97).
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Jauss, an important German exponant of "reception" theory, gave a historical
dimension to reader-oriented criticism. He tries to achieve a compromise between
Russian Formalism which ignores history, and social theories which ignores the text.
Writing during a period of social unrest at the end of the 1960, Jauss and others wanted
to question the old canon of German literature and to show that it was perfectly
reasonable to do so.... He borrows from the philosophy of science (T.S Kuhn) the term
"paradigm" which refers to the scientific framework of concepts and assumptions
operating in a particular period. "Ordinary science" does its experimental work within the
mental world of a particular paradigm, until a new paradigm displaces the old one and
throws up new problems and establishes new assumptions. Jauss uses the term
"horizon of expectations" to describe the criteria readers use to judge literary texts in
any given period.... For example, if we consider the English Augustan period, we might
say that Popes's poetry was judged according to criteria, naturalness, and stylistic
decorum (the words should be adjusted according to the dignity of the subject) which
were based upon values of Popes's poetry. However this does not establish once and
for all the value of Pope's poetry. During the second half of the eighteenth century,
commentators began to question whether Pope was a poet at all and to suggest that he
was a clever versifies who put prose into ryrhyming couplets and lacked the imaginative
power required of true poetry. Leapfrogging the ninteenth century, we can say that
modern readings of Pope work within a changed horizon of expectations: we now often
value his poems for their wit, complexity, moral insight and their renewal of literary
tradition.
In Jauss's view it would be equally wrong to say that a work is universal, that its
meaning is fixed forever and open to all readers in any period: 'A literary work is not an
object which stands by itself and which offers the same face to each reader in each
period. It is not a monument which reveals its timeless essence in a monologue.' This
means, of course, that we will never be able to survey the successive horizons which
flow from the time of a work down to the present day and then, with an Olympian
detachment. to sum up the works final value or meaning. To do so would be to ignore
the historical situation. Whose authority are we to accept? That of the readers? The
combinedopinionofreadersovertime? (RamanSeldon.P,52-53).
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The French semiotician Michael Riffaterre agrees with the Russian Formalists in
regarding poetry as a special use of language. Ordinary language is practical and is
used to refer to some sort of 'reality', while poetic language focuses on the message as
an end in itself. He takes this formalist view from Jakobson, but in a well-known essay
he attacks Jakobson's and Levi-Strauss's interpretation of Baudelaire's 'Les Chats'.
Riffaterre shows that the linguistic features they discover in the poem could not possibly
be perceived even by an in formed reader. All manner of grammatical and phonemic
patterns are thrown up by their structuralist approach, but not all the features they note
can be part of the poetic structure for the reader.
However, Riffaterre has some difficulty in explainig why something perceived by
Jakobson does not count as evidence of what readers perceive in a text.
Riffaterre developed his theory in Semiotics of Poetry (1978), in which he argues that
competent readers go beyond surface meaning. If we regard a poem as a string of
statements, we are limiting our attention to its 'meaning', which is merely what it can be
said to represent in units of information. If we attend only to a poem's 'meaning' we
reduce it to a (possibly nonsensical) string of unrelated bits. A true response starts by
noticing that the elements (signs) in a poem often appear to depart from normal
grammar or normal representation: the poem seemes to be establishing significance
only indirectly
and in doing so ' threatens the literary representation of realty'. It requires only ordinary
linguistic competence to understand the poem's 'meaning', but the reader
requires'literary competence' to deal with the frequent ' ungrammaticalities' encountered
in reading a poem. Faced with the stumbling-block of ungrammaticalness the reader is
forced, during the process of reading, to uncover a second (higher) level of significance
which will explain the grammatical features of the text. What will ultimately be
uncovered is a strcutural 'matrix', which can be reduced to a single sentence or even a
single word. The matrix can be deduced only indirectly and is not actually present as a
word or statement in the poem. The poem is conected to its matrix by actual versions of
the matrix in the form of familiar statements, cliches, quotations, or conventional
associations. it is the matrix which ultimately gives a poem unity. this reading process
can be summarised as follows:
1. Try to read it for ordinary 'meaning':
2. Highlight those elements which appear umgrammatical and which obstruct on
ordinary mimetic interpretation:
3. Discover the 'hypograms' (or commonplaces) which receive expanded or unfamiliar
expression in the text;
4. Derive the 'matrix' from the ' hypograms'; that is, find a single statement or word
capable of generating the ' hypograms' and the text.
(Seldon, P,60-61).
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The notion of 'structure', he argues, even in 'structuralist' theory has always
presupposed a 'centre' of meaning of some sort. This 'centre' governs the structure but
is itself not subject to structural analysis (to find the structure of the centre would be to
find another centre). People desire a centre because it guarantees being as presence.
For example, we think of our mental and physical life as centred on an 'I'; this
personality is the principle of unity which underlies the structure of all that goes on in
this space. Freud's theories completely undermine this metaphysical certainty by
revealing a division in the self between conscious and unconscious. Western thought
has developed innumerable terms which operate as centring principles: being, essence,
substance, truth, form, begining, end, purpose, consciousness, man, God, and so on. It
is important to not that Derrida does not assert the possibility of the thinking outside
such term; any attempt to undo a particular concept is to become caught up in the
terms which the concept depends on. For example if we try to undo the centring
concept of consciousness by asserting the disruptive counter force of the 'unconscious',
we are in danger of introducing a new centre, because we can not choose but enter the
conceptual system (conscious/unconscious) we are trying to dislodge. All we can do is
to refused to allow either pole in a system (body/soul, good/bad, serious/unserious) to
become the centre and guarantor of presence. This desire for a centre is called
'Logocentrism' in Derrida's classical work Of Grammatology. 'Logos' (Greek for 'word') is
a term which in the New Testament carries the greatest possible concentration of
presence: ' In the begning was the word'......... Phonocentrism treats writing as a
contaminated form of speech. Speech seems nearer to originating thought. When we
hear speech we attribute to it a presence which we take to be lacking in writing. The
speech of the great actor, orator, or politician is thought to posses presence; it
incarnates, so to speak, the speaker's soul. Writing seems relatively impure and
obtrudes its own system in physical marks which have a relative permanence; writing
can be repeated (printed, reprinted, and so on) and this repition invites interpretation
and reinterpretation. Even when a speech is subjected to interpretation it is usually in
written form. Writing does not need the writer's presence, but speech always implies an
immediate presence. The sounds made by a speaker evaporate in the air and leave no
trace (unless recorded), and therefore do not appear to contaminate the originating
thought as in writing. Philosophers have often expressed there dislike of writing; they
fear that it will destroy the authority of philosophic truth. This Truth depends upon pure
thought ( logic, ideas, propositions) which risk contamination when written. Francis
bacon ............ (Seldon, 144-145).
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In the context of his own concept of ideology, and also of the work of Roland Barthes
on literature and Jacques Lacan on psychoanalysis, it is possible to construct an
account of some of the implications for critical theory and practice of Althusser's
position. The argument is not only that literature re-presents the myths and imaginary
versions of real social relationships which constitutes ideology, but also that classic
realist fiction, the dominant literary form of the nineteenth century and arguably of the
twentieth, 'interpellates' the reader, addresses itself to him or her directly, offering the
reader as the place from which the text is most 'obviously' intelligible, the position of the
subject (and of) ideology.
According to Althusser's reading (rereading) of Marx, ideology is not simply a set of
illusions, as The German Ideology might appear to argue, but a range of
representations (images, stories, myths) concerning the real relations in which people
live. But what is represented in ideology is 'not the system of the real relations which
govern the existence of individuals, but the imaginary relation of those individuals to the
real relations in which they live' (Athusser, 1971: 155). In other words, ideology is both a
real and an imaginary relation to the world-real in that it is the way that people really live
there relationship to the social relations which govern their existence, but imaginary in
that it discourages a full understanding of these conditions of existence and the ways in
which people are socially constituted within them. It is not, therefore, to be thought of as
a system of ideas in people's heads, nor as the expression at a hihger level of real
material relationships, but as the necessary condition of action within the social
formation. Althusser talks of ideology as a 'material practice' in this sense: it exists in
the behaviour of people acting according to their beliefs (155-9).
It is important to stress of course, that ideology is by no means a set of deliberate
distortions foisted upon a helpless populace by a corrupt and a cynical bourgeoise. If
there are sinister groups of men in shirt-sleeves purveying illusions to the public, these
are not the real makers of ideology. In that sense, it has no creators. But, according to
Althusser, ideological practices are supported and reproducedin the institutions of out
society which he calls Ideological State Apparatuses (ISAs). Unlike the Repressive
State Apparatus, which works by force (the police, the penal system and the army), the
ISAs pursuade us to consent to the existing mode of production.

The central ISA in contemporary capitalism is the educational system, which prepares
the childer to act in accordance with the values of society, by inculcating in them the
dominant versions of appropriate behaviour as well as history, social studies and, of
course, literature. Among the allies of the educational ISA are the family, the law, the
media and the arts, each helping to represent and reproduce the myths and beliefs
necessary to induce people to work within the existing social formation.
The destination of all ideology is the subject. The subject is what speaks, or signifies,
and it is the role of ideology to construct people as subject:
The obviousness of subjectivity as the origin of meaning and choice has been
challenged by the linguistic theory which has developed on the basis of Saussure's. As
Emile Benveniste argues, it is language which provides the possibility of subjectivity,
because it is language which enables the speakers to posit himself or herself 'I', as the
subject of a sentense. It is in language, inother words, that people constitute
themselves as subjects. Consciousness of self is possible only on the basis of the
differentiation: 'I' can no be signified or concieved without the conception 'non-I', 'You',
and dialogue, the fundamental condition of language, implies a reversible polarity
between 'I' and 'You'. 'Language is possible only because each speaker sets himself up
as a subject by referring to himself as I' (Benveniste 1971:225). But if in language there
are only differences with no positive terms, as Saussure insists, 'I' designates only the
subject of a specific utterence.
'It is literally true that the basis of subjectivity is in the exercise of language' (226)
(Belsey, 52-55).
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Jagdish Prakash to Haider Qureshi

Aug 28, 2009 01:45 PM
1 Facts provided by C.M.Naim are eye-openers.

I am also getting so many emails from our literary world.
Here I want to share an e-mail of a friend regarding this subject.
::::::::::::::::::::::::::::::::::::::::::::
"Dear Haider Saheb,
I thank you for being so proactively pursuing the question of purity of
thought, creativity and expression in Urdu making Dr.Gopi Chand
Narang's case as symptomatic of the malaise.
While this kind of plagarism is condemnable unequivocally, Mr.
C.M.Naim has drawn attention to another issue of manipulations in the
corridors of powers to win patronage and positions. This is what had
happened in case of Dr.Narang. This is a weakness of the system
because of it real talent suffers while mediocrity thrives.
I also wish to inform you that I am presently in Canada and will move
back to India around 25th September.
Jagdish Prakash"
::::::::::::::::::::::::::::::::::::::::::::::::
Haider Qureshi
Okriftel,Hattersheim, Germany
http://outlookindia.com/article.aspx?261517
The Emperor's New Clothes

The recent case of plagiarism is only symptomatic of the truly serious issue: the utterly
cynical and self-serving attitude of a great many people who walk the corridors of power
in New Delhi, wearing cloaks labelled 'Culture' And 'Education'
C.M. Naim
on Gopi Chand Narang
My previous note concerning the scandal swirling around Dr. Gopi Chand
Narang’s award-winning Urdu bookon Structuralism, Post-Structuralism and Eastern
Poetics was based on the three Urdu articles by Imran Shahid Bhinder of Birmingham
City University that appeared in various issues of the journal Jadeed Adab (published
from Okriftel, Germany, and Delhi, and also available on the web). Since then I have
obtained a copy of the special issue of ‘Akkas International, #9 (2009), published from
Islamabad (also available on the web). Besides a fourth, well-documented essay by
Bhinder, it includes some other interesting and revealing articles.
In one such article (“The Story of Jadeed Adab No. 12”), Haidar Qureshi, the
editor of Jadeed Adab, reveals how he was forced to exclude from that particular issue
material that was critical of Dr. Narang. “The previous four issues (Nos. 8, 9, 10, and
11),” Qureshi writes, “were published by Mustafa Kamal Pasha Sahib of the Educational
Publishing House, Delhi… I liked Pasha Sahib as my publisher. And so I sent him the
final files of the 12th issue. It was printed in October 2008. But before it could go to the
binders, Dr. Gopi Chand Narang put pressure upon the publisher by threatening legal
action. Pasha Sahib, rightly, did not wish to be dragged into any litigation… And so the
binding was stopped. Dr. Narang wanted that Jadeed Adab should not publish anything
against him.” And so only a censored version of the 12th issue came out in 2009.
(Qureshi informs me that I was in error when I wrotethe magazine was no longer
published from Delhi. It still is, but under the contract it cannot include any article or
letter that is critical of Dr. Narang.) After reproducing the censored letters, Qureshi
concludes his essay by appealing to the government of India to take notice of this act of
blackmailing.
Qureshi’s article also appeared in the Urdu quarterly Asbat, Mumbai, in its issue
# 3, Dec. 2008–Feb. 2009. But it went unnoted—like Bhinder’s three articles between
July 2007 and October 2008—by the academics and authorities at the Aligarh Muslim
University and Maulana Azad National Urdu University who conferred honorary degrees
on Dr. Narang early this year.
The most interesting thing for me was to discover that, contrary to my earlier
belief, Dr. Narang had in fact defended himself in print—in an interview given to Nand
Kishore Vikram, the editor and publisher of Adab-i-‘Aliya International (“Classics
International”), a magazine infrequently published from Delhi. The interview appeared in

its issue for April–June 200; the relevant portion is reprinted in the special issue of
‘Akkas International, (p. 109). I immediately posted a translation in the ‘Comments’ to
my first essay; here is a revised version:
Nand Kishore Vikram: People say that those who presented Structural Criticism
(sakhtiyati tanqid) in Urdu did so either through translation (tarjuma) or by means of
adaptation (akhz) and summarization (talkhis). What do you say about that?
Gopi Chand Narang: When I began my work on “Theory” I was aware—my
training is in Structural Linguistics (sakhtiyati lisaniyat)—that the fundamental
requirement in Philosophy (falsafa) was Scientific Objectivity (sa’insi ma’ruziyat). I had
before me many examples where people started with some talk of Philosophy but very
soon began to soar on wings of Imagination, eventually becoming victims of their own
silly inventions (ijad-i-banda). Many of them toiled to make themselves more prominent
than the original texts, while others succumbed to their own writing style and wrote what
would be called light entertaining essays (insha’iya).
[The problem I faced] was that the needed terminology did not exist in Urdu.
Secondly, the style of writing of the New Philosophers was so complex, so brimful with
meaning, and so dense that it was a major issue for me to transfer it [into Urdu] with
scientific accuracy and objectivity. In order to maintain the “Preciseness” and
“Rigour”—[both words are in English in the original]—of their texts it was necessary for
me to use all available means in my expositions (afham-o-tafhim; lit. “comprehension
and explanation”), all the while avoiding—as it is required in the discipline of
Philosophy—any coloration from my own imagination (takhyil ki rang-amezi) as well as
any subjective flight of thought of my own (mauzu’i khayal-bafi).
The first two parts of my book—[entitled “Structuralism” and “Post-Structuralism”]—are
of the analytical kind (tashrihi nau’iyat). The third part—[entitled “Eastern Poetics”] and
the final section [of conclusions] are of a very different nature. In my expositions of the
New Philosophers and their ideas and insights I have unhesitatingly used akhz
(“adaptation”) and qubul (“extraction;” lit. “acceptance”). Where it became necessary I
also used talkhis (“abridgment”) and tarjuma (“translation”). In order to retain the force
of the argument I have also quoted at many places from the original texts so that the
philosophical issue or the insight of the thinker might reach the Urdu reader with its full
impact. To every section of the book I have attached a bibliography of all its sources.
Further, in the bibliographies, I have marked with a star the books that I used
much more extensively than others. Let me make it clear: the ideas are not mine, they
are of Saussure, Levi-Strauss, Roman Jacobson, Lacan, Derrida, Barthes, Foucault,
Kristeva, Shklovsky, Bakhtin, etcetera. That is why I have dedicated my book to all the
philosophers and thinkers whose ideas it consists of. And I have clearly indicated in my
Introduction: “The concepts and ideas (khayalat aur nazariyat) are of the Philosophers,
the understanding, explanation, and language (afham-o-tafhim aur zuban) are mine.”
Dr. Narang is right about the lack of established terminology in Urdu literary
criticism. We must, therefore, take him at his precise word when he claims that the first
two chapters of his book were “analytical” (tashrihi), and that what he had done as a
whole was to first comprehend (afham) and then explain (tafhim)—in his own language
(zuban), Urdu—the ideas and concepts of the people whom he calls the “New
Philosophers.” That, however, is exactly what Bhinder has solidly refuted. According to
him, only the language (Urdu) is Dr. Narang’s; the analysis and exposition are by other
people—Raman Selden, John Sturrock, Catherine Belsey, Terence Hawkes, and many
more who find no mention in the interview. Nor are their names mentioned in the
“Introduction” and the “Dedication.” They make only desultory appearances in the
expository chapters, and seldom when whole lines of their English become Dr.
Narang’s Urdu. To give just one example from the many that Bhindermeticulously
identifies, Christopher Norris, in his book Deconstruction: Theory and Practice (3rd
edition, London, 2002), writes on Derrida at some length on pages 18 and 19. Bhinder
has quoted fifteen lines from those pages (‘Akkas International, #9, p. 87), and
identified them as the original of ten lines in Dr. Narang’s book (pp.217–8). One might
say that turning fifteen lines into ten was a nice act of summarization (talkhis), but what
is one to make of the fact that every Urdu sentence in those ten lines is the exact
translation—not a summary—of some sentence in the fifteen lines of English—and the
Urdu sentences occur in the original English order?
When I looked up the Urdu pages cited by Bhinder, I found that Dr. Narang had
actually mentioned Norris’s book two pages earlier, calling it “the best and most
comprehensive” book on “Deconstruction.” It is also listed in the bibliography of his
sources for the chapter. The book is starred—as explained by him above—but then so
is also Ludwig Wittgenstein’s Philosophical Investigations, listed two names below
Norris. No page numbers are listed in either case. Are we then to assume that Dr.
Narang used Norris and W ittgenstein equally extensively in his “analysis” and
“exposition” of Derrida’s ideas?
Rereading Bhinder’s first article in the special issue of ‘Akkas Intrnational and
checking its accuracy, I stumbled upon something else. On pages 29 and 30 of the
journal, Bhinder states that Dr. Narang had extensively translated passages from
Catherine Belsey’s introductory textbook, Critical Practice. One of the examples he cites
is this passage in Belsey’s book:
Saussure’s argument depends on the different division of the chain of meaning in
different languages. ‘If words stood for pre-existing concepts they would all have exact
equivalents in meaning from one language to the next; but this is not true’ (Saussure,
1974: 116). The truth is that different languages divide or articulate the world in different
[ways]. Saussure gives a number of examples. For instance, where French has the
single word mouton, English differentiates between mutton, which we eat, and sheep,
which roams the hills. (pp. 36–37.)
I compared it with the passage he mentions in the Urdu book (p. 68). The Urdu is a
meticulous translation of the English—it even includes the page number in Saussure’s
book, which, as Bhinder points out, creates the false impression that Dr. Narang was
quoting directly from Saussure. As I compared Dr. Narang’s page 68 with Catherine
Belsey’s page 39 (a different edition from what Bhinder used), I realized that Dr. Narang
had twice done the same injustice earlier. In support of Saussure’s argument Belsey
had quoted more examples as given by Jonathan Culler and Louis Hjelmslev in their
separate books—properly acknowledged by Belsey. Dr. Narang has translated those
examples, without mentioning Belsey, and then cited the page numbers given by her as
if he were quoting directly from Culler and Hjelmslev.
But what really surprised me was on the opposite page (p. 69), where Dr.
Narang, leaving the safety of translation, offers his own examples for Saussure’s
contention. “If we wish to see,” Dr. Narang begins, “there is no lack of such examples
even in Urdu where words are similar but meanings are different. Just take [the terms
for] kinship. Baba is used in Urdu for ‘father,’ the same as Abba, while in Hindi it is used
for ‘grandfather.’” He then goes on in that vein for the next 13 lines, citing how some
words mean one thing in Urdu but quite another in Arabic, from which Urdu borrowed
them. Apparently, Dr. Narang totally failed to comprehend (afham) Saussure’s radical
notion that different languages divide the world differently—even after Belsey further
explained it by citing examples given by Culler and Hjelmslev. (A correct example for
Urdu readers would have been how Urdu divides the world of “parents’ siblings” into
chacha, phuphi, mamun, and khala, while English divides the same world into “Uncle”
and “Aunt.”)
Dr. Gopi Chand Narang is presently a “Member, Advisory Committee on Culture,
government of India,” which is symptomatic of the bigger, truly serious issue: the utterly
cynical and self-serving attitude of a great many people who walk the corridors of power
in New Delhi, wearing cloaks labelled “Culture” and “Education” and bartering favours
among themselves. The big issue is not the individual, who did what he considered was
necessary in order to prosper in Indian academia and win patronage from politicians.
Let us also not forget that it was the literati of India who chose Dr. Narang to preside at
the Sahitya Akademi, over Mahashweta Devi, one of India’s most honest and
courageous writers. The rot has settled deep and at many places, and unless more
people begin to protest, challenge, and condemn publicly what they shake their heads
over privately, nothing much is going to change in Education and Culture.
.......................................................................
http://outlookindia.com/article.aspx?261517
C.M. Naim
Aug 03, 2009 02:20 AM
I have now learned from Dr. Narang's website that his book has been translated
in several Indian languages besides Urdu and Hindi. The site states:
"Samrachnavad, Uttar-Samrachnavad evam Prachya Kavyashastra (trs. by Devesh),
Sahitya Akademi, New Delhi 2000. (Besides Hindi, this book is also published in Tamil,
Marathi, Punjabi, Bengali, Bengali, Maithili, Gujarati, Kannada and Malayalam;
translation in progress in Kashmiri, Telugu and Oriya)." I hope someone in those
languages will also do some checking of their own.
C. M. Naim
Bara Banki, India
http://www.outlookindia.com/article.aspx?260108
..........................................................
S. Singh
Jul 29, 2009 10:59 PM
Plagiarism is not a new word for literary circle. There are several creations here
which are the modified version of old ones. Your detailed study on Mr. Narang has only
confirmed the deep routed menace of literature. I used to be an amateur in this topic,
few years back I liked to read and find out who is copying from whom, its been several
years since I left this practice. But I do remember some faint charges on Gopichand
narang before. I have also heard that Harivansh rai bachchan's creation "madhushala"
is not his creation, it is a modified/manipulated copy of omer khayyam's poetry.
However, solid proof is yet to be discovered. Literary bankruptcy has become a
common trait of our era.
S Singh
Hyd, India
............................................................
Plagiarize And Prosper

Dr. Gopi Chand Narang, Professor Emeritus, Delhi University, former President of the
Sahitya Akademi and the recipient of two “Padma” awards, stands accused of massive
plagiarism in his award-winning book.
Monday, August 03, 2009
C M Naim
There was a time when people wrote a literary piece and then ascribed it to
someone whom they held in high esteem out of love, admiration, reverence or some
other strong sentiment. Jalaluddin Rumi wrote a magnificent volume of ghazals but did
not put his name to it. It has always been known as Diwan-i-Shams-i-Tabriz (The Diwan
of Shams of Tabriz). An unknown poet wrote another, smaller diwan of ghazals and
ascribed it to Khwaja Mu’inuddin Chishti of Ajmer. Later some other people concocted
‘table-talks’ of some of the Chishti Sufis and circulated them as genuine collections. In
Urdu literary history, two examples of something similar immediately come to mind.
When Muhammad Husain Azad desired to publish a definitive edition of the ghazals of
Shaikh Ibrahim ‘Zauq,’—the first poet laureate of Bahadur Shah ‘Zafar’—he felt no
qualms in composing new ghazals and verses to fill in the gaps he felt his beloved
master would have filled in himself. Then there is the fascinating case of one of the
foremost modern poets in Urdu: when Sana’allah Dar took on the name “Miraji” after a
woman named Mira whom he obsessively loved, he might have had in mind the
exemplary bond between Rumi and Shams.
Urdu literary culture, however, has known many more cases where someone
took the work of another person and claimed it as his own. Particularly among the
poets. The practice of ustadi/shagirdi in Urdu poetry encouraged it. Many an ustad or
master poet earned his meagre living by giving away his verses to his pupils or shagird,
who in turn provided for his needs. Some ustad openly sold verses to anyone who
came with money the night of a musha’ira (a gathering of poets). A nawab or king
would appoint some good poet as his ustad and then quite as a norm expect him to put
together a volume of ghazals in his name. It also happened in prose. Imam Bakhsh
‘Sahba’i’, a contemporary of Ghalib and teacher at the famous Delhi College, reportedly
wrote for a Mughal prince a tazkira or account of the poets of his time. The book,
Gulistan-i-Sukhan, carries the name of Qadir Bakhsh ‘Sabir’ as its author, but Ghalib
always referred to it as “Sahba’i’s tazkira.” Much later, when the
Anjuman-i-Taraqqi-i-Urdu (“Association for the Development of Urdu”) published The
Standard English-Urdu Dictionary in 1937, the organization’s Secretary, Maulvi Abdul
Haq (a.k.a “Father of Urdu”), put his own name on the cover as its editor, instead of the
Anjuman’s. But at least he was honest enough to clearly acknowledge in the

Introduction that the work had mainly been done by Dr. Abid Husain of Jami’a Millia.
Since then, however, things have been going downhill in Urdu, particularly in its
academia. The late Azhar Ali Farooqui of Allahabad earned his living by writing Ph.D.
dissertations for others, with the full knowledge of the university’s professors. I
personally witnessed how he worked.
In the old literary culture plagiarism of the ordinary kind was also common and
not made much of. The stakes were not high then. But now the stakes are quite high in
the academic world. Ambitious university teachers no longer can make do by merely
taking care of their patron’s grocery shopping and milk cows—I witnessed both at
Aligarh. Now they must publish “research” in order to get coveted promotions and titles.
Sadly, quite a few take to plagiarism as the shortest route. I became involved in the
case of one such ambitious academic at Aligarh back in the early 1980s. The
Department of Urdu, Aligarh Muslim University, had obtained some money from the
government for a professorship in Aesthetics, and advertised the job. One of the
candidates was a Reader in the department, who was far better known for his fiction
than research—he wrote at least one superb novella that will always be admired. In no
time that gentleman managed to publish a volume on Urdu Aesthetics. I was most
surprised when I came across the book in our library at the University of Chicago.
Having known the person since our shared college days, I couldn’t imagine him as the
author of the book. A couple of hours of digging around in the library solved the
mystery. The talented academic had taken a well-known book on Aesthetics in English
by a Bengali scholar and diligently translated most of it into Urdu. Dutifully I prepared a
short article, presenting page-and-line references to the original. It was published in
Urdu, and received plenty of notice. But nothing actually happened. The gentleman
didn’t get the job—no one did, as I remember—but he went on to become a full
professor, and soon chaired the department for a while. Needless to say he
received—justly, I must add—a ‘Padma Shri’ as a fiction-writer.
Presently the Urdu literary/academic world has been violently shaken by what
must be termed “the mother of all plagiarisms”. Instead of the out of fashion field of
Aesthetics, it is the currently much more fashionable field of Literary Theory that is at
issue, and the person at the ‘heart of darkness’ is no less than Dr. Gopi Chand Narang,
Professor Emeritus, Delhi University, who from 2003 to 2007 presided over the Sahitya
Akademi and has received two “Padma” awards from the Indian state—the latest being
“Padma Bhushan” in 2004. (A full list of his honours and publications may be seen at
his website. At the centre of the scandal is the book Sakhtiyat, Pas-i-Sakhtiyat Aur
Mashriqi Shi’riyat (“Structuralism, Post-Structuralism, and Eastern Poetics”), for which
Dr Narang received the Sahitya Akademi award in 1995. Though the title suggests that
it might be a comparative study, bringing out the commonalities and oppositions
between two contemporary Western literary/linguistic theories and their counterparts in
Sanskrit and Urdu—a rather curious undertaking—but in reality it only describes and
explains the three topics in the book’s title, and the major thinkers who contributed to
them.
As far back as 1997, an Indian Urdu critic named Fuzail Ja’fari had explained in
some detail how Dr Narang’s book shied away from original thinking and analysis,
limiting itself simply to what X wrote and Y said in Western languages (Zahn-i-Jadid,
Delhi, #22-3). In fact, he described the book as a “compilation” (talif), adding that it was
not an original piece of writing (tasnif). Now a young scholar Imran Shahid Bhinder, a
doctoral candidate in the Department of English at the University of Birmingham, U.K.,
has made a much more serious charge. Bhinder published in 2006 in the annual issue
of Nairang-i-Khayal, a Pakistani journal, an essay entitled “Gopi Chand Narang is a
Translator, not an Author.” A year later, a revised and expanded version of the essay
appeared in the journal Jadeed Adab (July–December, 2007), which at the time was
printed at New Delhi—now allegedly stopped under pressure from certain people—and
published from Germany. (It is also available on the web). In 2008 Bhinder published
two more articles in Jadeed Adab, the first in its January–June issue, entitled
“Plagiarism in Urdu Literature – How Long will it be Defended?” and the second in the
July–December issue, entitled “Gopi Chand Narang’s ‘Truth’ and ‘Context’ [as]
Thievery.” Both articlesfound plenty of circulation in both India and Pakistan, and
excerpts were reproduced in a couple of Indian journals. Now a Pakistani journal,
‘Akkas, published from Islamabad, has brought out a special issue devoted to Dr
Narang’s oeuvre and career, including a more detailed analysis by Bhinder. (Also
available online)
In summary, Bhinder has most convincingly established that Dr Narang’s
achievement in that award-winning book is not that of an author but only of a translator,
and that too of a reprehensible kind. According to Bhinder, Dr Narang did not read the
original authors—Ferdinand de Saussure, Claude LeviStrauss, Roland Barthes,
Jacques Derrida, Jacques Lacan, Michel Foucault, and others. He read only their
well-known interpreters, and then transferred the latter’s analyses and interpretations
into Urdu, doing so verbatim and without giving the reader any indication of what he
was doing. In his third article mentioned above, Bhinder has given extraordinary details
of the Dr Narang’s “authorial” enterprise. He has quoted excerpts from the Urdu book
and then placed them next to their unacknowledged English original. Further, he has
listed with precision the countless pages in Dr Narang’s book that correspond almost
word-for-word with the English pages of American and British scholars. For example,
pages 79–106, 234–240, 243–267, and 288–329 of Dr Narang’s book, according to
Bhinder, are exact translations of pages 27–42, 149–158, 86–103, and 49–70, of
Raman Selden’s book, A Reader’s Guide to Contemporary Literary Theory (1985). The
other exploited scholars that Bhinder similarly identifies are Terence Hawke, Catherine
Belsey, John Sturrock, Jonathan Culler, Christopher Norris, and Robert Scholes. (I must
add that Bhinder’s critique has some other dimensions too that are important and
relevant for all academics in a general manner. See: here.)
The evidence Bhinder presents is quite irrefutable. When, for example, I checked
the pages he points out in Selden's book, they indeed turned out to be the
unacknowledged source of Dr Narang's remarks. I also stumbled upon something
equally interesting. Dr Narang has a note on Michel Foucault (pp. 193–8) in the second
chapter in his “Book Two,” i.e. the second section of his book. The text on pages
194–6, as pointed out by Bhinder, is merely a translation of pages 158–9 in Selden's
book. I checked the “sources” that Dr Narang's has helpfully listed for each chapter, and
found that he does list Raman's book as a source for that particular chapter. And gives
exact page numbers too: 79–84 and 98–102. The first reference, however, turned out
to be
Where Selden discusses Bertolt Brecht, Theodor Adorno, and Walter Benjamin
The second was equally curious: in Selden's book, page 98 deals with Frederic
Jameson, but pages 99–102 contain only a bibliography. Again, the opening paragraph
of Dr Narang’s note on Jonathan Culler (pp. 318–9) is, as per Bhinder, entirely Selden’s
(p. 62). But in the sources, Selden’s name is listed with page numbers 106–27! In other
words, while Dr Narang twice went to the trouble of indicating precise—though
unrelated—pages in Selden’s book, he somehow failed to include the pages he had
actually abused.
Bhinder’s charges are extremely serious. They are also thoroughly documented.
First made three years ago, his accusation has remained unchallenged—unlike in the
past when the slightest criticism of Dr Narang promptly produced a spate of articles in
his defence and diatribes against the critic. This time he and his admirers are
remarkably silent. And for good reason. They understand that any attempt would only
bring more notoriety. Sadly, they also know that the academic circles in India in general,
and the university departments of Urdu in particular, take no notice of inconvenient
details. With them it is always “business as usual.” After all, soon after Bhinder’s original
article came out in 2006, Dr Narang received the degree of ‘D.Litt. Honoris Causa' from
the Central University at Hyderabad. Then after two more articles, two similar honorary
degrees were conferred on him in the past six months, by the Maulana Azad National
Urdu University and the Aligarh Muslim University.
Sahitya Akademi has an excellent policy of making its award-winning books
available in other major languages of India, including English. Dr Narang’s book
received the award some fourteen years ago, but, to my knowledge, it has so far been
translated only into Hindi (2000). May I ask the Akademi to do a major favour to Urdu
letters? Marathi and Bengali scholars, in my experience, are usually far more
knowledgeable about modern and pre-modern literary theories than an average Urdu
academic. (I very much include myself among the latter.) The Akademi should have Dr
Narang’s award-winning book translated into both Bengali and Marathi so that it can
properly be judged by his peers in India. Given the international protocols on copyright,
however, an English translation might not be advisable at this time.
--------------------------------------------------------------------------------
C.M. Naim is Professor Emeritus, University of Chicago
http://thenews.jang.com.pk/daily_detail.asp?id=191143
http://www.southasianmedia.net/index_opinion.cfm?
category=Culture&country=Pakistan#C%20M%20Naim
http://www.urdustudies.com/pdf/24/39Columns.pdf
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Gopichand Narang

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Dr. Gopi Chand Narang Aur Maa Bad Jadidiat

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The Emperor's New Clothes

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Plagiarize And Prosper

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Vous aimerez peut-être aussi

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