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Journal of Language and Literature, ISSN: 2078-0303, No. 3.

August, 2010

OTHERING, STEREOTYPING AND HYBRIDITY IN FICTION: A POSTCOLONIAL ANALYSIS OF CONRADS HEART OF DARKNESS (1899) AND COETZEES WAITING FOR THE BARBARIANS (1980)
Hammad Mushtaq Foundation University Islamabad (PAKISTAN) E-mail: hamaadhashmi@gmail.com
ABSTRACT The researcher has analysed Conrads Heart of Darkness and Coetzees Waiting for the Barbarians using certain post-colonial concepts as tools of analysis. A number of post-colonial concepts can be applied to analyse the two novels since both the novels relate stories that focus on the relationship of the colonizers and the colonized, in a variety of ways. This study however will strive to apply three significant post-colonial concepts i.e. Othering, Stereotyping and hybridity on the two novels. The study has been delimited to first chapters of the two novels. Starting with a literature review concerning Othering, Stereotyping, and hybridity, the researcher will carry out a detailed analysis of the first chapters of these two novels, using the concepts of Othering, Stereotyping and Hybridity. This individual analysis of the first chapters of the two novels will then culminate into a postcolonial comparison of the two novels, showing the inter-textual significance of this study. Key Words: Post-colonial analysis, Othering, Hybridity, Stereotyping, Coetzee, Waiting for the Barbarians, Conrad, Heart of Darkness, Colonizers, Colonized, the Self, the Other INTRODUCTION Othering, Stereotyping, and Hybridity are extremely vital concepts in post-colonial discourse. These concepts come from two renowned Indian post-colonial theorists i.e. Othering was coined by Gayatri Chakravorty Spivak and Stereotyping and Hybridity come from Homi K. Bhabha. All these concepts, according to post-colonial theory, result out of a direct interaction between the people of a superior and a subordinate culture. The present study assumes that hybridity, together with Stereotyping and Othering can be traced in both the novels selected for this study. The study has been delimited to first chapters of the two novels since plenty of evidence has been found in the first chapters of the novels which can be assessed using post-colonial analysis. Othering Othering refers to a process by which imperial discourse creates its others. It is quite necessary for a colonial empire to create the other, Whereas the Other corresponds to the focus of desire or power [....] construction of the other is fundamental to the construction of the Self (Ashcroft, Griffiths, and Tiffin: 2004 171-72). In simple words the Other refers to the colonized subjects which forms part of the Self/Other binary. The colonizers consider themselves to be the centre, and deal with the colonized as if they are the marginalized other. Das traces the origin of the term Other in the writings of Sartre, Derrida and Lacan: One finds the extensive use of Other in existential philosophy, particularly in Satres Being and Nothingness to explain the relation between Self and Other in creating an awareness of self and identity. But in post-colonial theory it is rooted in Freudian analysis of formation of subjectivity (Das 369). Jacques Lacan presented a distinction between other and Other. The Other-with the capital O has been called the grande-autre by Lacan, the great Other, in whose gaze the subject gains identity. (Das 370). Creation of the others and initiating the process of Othering, therefore, is essential for the imperial and colonizing powers to assert their own power, will, and value. Another concept closely related to the concept of Othering is Stereotyping. Stereotyping Stereotyping can be defined as an image, mostly negative, of a person in relation with a group or society. Edger and Sedgwick define the concept in these words: a stereotype is an oversimplified and usually value-laden view of the attitudes, behaviour and expectations of a group or individual. Such views, which may be deeply embedded in sexist, racist or otherwise prejudiced cultures, are typically highly resistant to change. (380-1). In post-colonial theory, stereotype refers to the highly generalized views of the colonizers about the colonized. These views are mostly negative, debasing, humiliating, and based on a racist or prejudiced view of the colonized people. Bhabha asserts the significance of fixity, a concept whose key discursive strategy is the stereotype, where the other is fixed as unchangeable, known, and predictable (Childs and William 125). Colonizers had stereotypical views about the natives. As for them, they were work shirkers, liars, corrupt, weak, inferior, uncivilized, impotent, cruel, lazy, irrational, violent and disorganized. Hybridity Another outcome of the colonizer/colonized relationship is Hybridity. It is a kind of partial adaptation which occurs on cultural, linguistic or psychological levels. In post-colonial societies, it occurs both as a result of conscious moments of

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Journal of Language and Literature, ISSN: 2078-0303, No. 3. August, 2010


cultural suppression, as when the colonial power invades to consolidate political and economic control, or when settlerinvaders dispossess indigenous peoples and force them to assimilate to new social patterns (Ashcroft, Griffiths, and Tiffin: 1995 183). Hybridity can be called a consolidation of two different cultures which occurs as result of the constant interaction of the two people. It results into a third breed or mixed race which has the qualities of both the cultures. David Coley, as quoted by Hawley, asserts that if any fact is well established in history, it is that the miscegenetic [hybrid] or mixed races are much superior, mentally, physically, and morally, to those pure or unmixed (298). Bhabha calls it the Third Space and asserts that all cultural statements and systems are constructed within this space (Ashcroft, Griffiths, and Tiffin: 2004 118). POST-COLONIAL ANALYSIS OF CONRADS HEART OF DARKNESS A post-colonial analysis of the first chapter of Joseph Conrads Heart of Darkness reveals that Othering, Stereotyping and Hybridity phenomena are persistently present in the novel. The process of Othering and Stereotyping is spread throughout the novel in general and in the first chapter in particular. Othering: A Hegemonic Tool of the Colonizers The main character, Marlow, has been presented in the very beginning of the novel as if he was an idol: He had sunken cheeks, a yellow complexion, a straight back, an ascetic aspect, and, with his arms dropped, the palms of hands outwards, resembled an idol (4); this description of the white protagonist is in a sharp contrast with the description of the downtrodden black people across the Congo River and provides a convincing example of Othering: Black rags were wound round their loins, and the short ends behind waggled to and fro like tails. I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them, rhythmically clinking (11). This vivid binary of the colonizer/colonized or self/other remains an active ingredient of the novel all over the first chapter. The white characters enjoy complete freedom and authority over the black people, whereas the blacks are marginalized, oppressed, humiliated and beaten by the white quite heartlessly. Marlows aunt advises him about weaning those ignorant millions from their horrid ways (9). The image of the black people is stereotypical and provides a view of the African people as being others in contrast with the self which is the British empire. The others are considered uncivilized, savage, and mindless people; they are physically, emotionally and psychologically maltreated by the whites, who consider themselves to be superior, civilized, and intelligent. Marlow however believes that its his aunts naivety to believe that his company intends to civilize the ignorant millions, their motto is to exploit the resources of the colonies and to earn as much profit as possible, since, in Marlows words, Company was run for profit (9). This indicates that the empires motive behind keeping the control of the lands is utilitarian rather than humanitarian. They do not value the needs, emotions, and aspirations of the native people, the others. The process of Othering has made the black community look like heaps of bones. The difference between the self and the other is extremely wide. This gulf of difference has been vividly described by Conrad in the descriptions of the dying black men and the Chief Accountant. The black mens physical and psychological description by Marlow arouses deep pathos for the objects of the Othering process: They were not enemies, they were not criminals, they were nothing earthly nownothing but black shadows of disease and starvation, lying confusedly in the greenish gloom. Brought from all the recesses of the coast in all the legality of time contracts, lost in uncongenial surroundings, fed on unfamiliar food, they sickened, became inefficient, and were then allowed to crawl away and rest. (12) This detestable, repugnant and vile condition of the others is in complete contrast with the physical appearance of the Chief Accountant: I saw a high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished boots. No hat. Hair parted, brushed, oiled, under a green-lined parasol held in a big white hand. He was amazing, and had a penholder behind his ear (12). It was the description of someone who represented the Self, the Empire, and shows that only the white can be the true and civilized representatives of the Empire; only white people had the right to live a clean, luxurious, and peaceful life. Marlow could not imagine that he would be able to see such a civilized, and up-to-date figure in the middle of the dark continent. Marlow shook hands with this miracle, and [....] learned he was the Company's chief accountant (12); this sharp contrast is not accidental; no fatalistic notion can call it the destiny of the black people. It is all part of the imperialistic plan of keeping the natives deprived, hungry, weak, and helpless. The most revealing example of the Othering process is a remark uttered by Marlow which he uttered while looking at a dying black man: When one has got to make correct entries, one comes to hate those savageshate them to the death (13). The Self always needs some Others to assert its own value; making enemies, when there are none, is the greatest dilemma of every colonialist empire. This Othering, this marginalization and this humiliation of the natives is nothing but a source of recognition, exaltation, and identification of the Self, the Centre, and the Empire. Stereotyping of the Black People The Stereotyping of the native black people is also relentless, harsh, and pervasive throughout the novel. They move about like ants (11), and pass Marlow without a glance, with that complete, deathlike indifference of unhappy

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Journal of Language and Literature, ISSN: 2078-0303, No. 3. August, 2010


savages (11). The black natives seem to have no quality, no personality, no value, and no life. The imperial oppression has snatched all their identity and in turn given them an ambiguous, detestable, stereotyped identity. They are not human beings, they are not individuals, they are only black shapes (12) and nothing more than black shadows of disease and starvation (12). Their starved bodies are spread all around in the station area which look like bundles of acute angles sat with their legs drawn up. (12). They have no names, no personality, no individuality, they are only niggers that astonish Marlow when he first saw them: While I stood horror-struck, one of these creatures rose to his hands and knees, and went off on all fours towards the river to drink. (12). These stereotyped images of the natives horrify the reader and arose a storm of pathos together with a hatred for the hegemonic imperial Othering of the natives which was carried out during the colonial era. The Stereotyping of the colonized subjects in Hart of Darkness can be understood with the help of figure 1 which presents textual evidence of stereotyping in the novel.

Fig. 1. Stereotyping of the colonized subjects Hybridity in Marlow and Kurtz Marlows character appears to be a hybrid one. His mind is the abode of both liking and hatred for the empire. In the beginning of the novel he seems to glorify the act of empire building when he describes the river Thames as a great preserver of history, a tool of empire building which bore the germs of empires: What greatness had not floated on the ebb of that river into the mystery of an unknown earth! ... The dreams of men, the seed of commonwealths, the germs of empires (5). England, he believes has been one of the dark places of the earth (5) which was incomprehensible and detestable for the civilized visitors but now it has grown into an empire which is the centre of civilization. Sometimes, however, his tone sounds ironical and satirical while talking about the processes of the empire building. The black guard he saw at one of the stations of the Company became alert and tried to show his efficiency seeing a white man even from a distance. His satirical expression After all, I also was a part of the great cause of these high and just proceedings. The high and just proceedings was in fact a reference to the humiliating and detestable behaviour of the whites towards the blacks. Just before uttering this sentence Marlow had seen six black men whom he described in these words: Black rags were wound round their loins, and the short ends behind waggled to and fro like tails. I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them, rhythmically clinking. (11). Calling all this savagery of the white masters high and just proceedings was quite ironical and shows Marlows dislike for what was happening to the blacks. Marlows act of offering a biscuit to one of the dying nigger, also represents Hybridity in his personality. His expression I found nothing else to do but to offer him one of my good Swede's ship's biscuits I had in my pocket (12) shows that he could offer even more to that heap of black bones if at all he had something else to offer. He saw the dying men with great sympathy and when the sight became unbearable for him he simply left the grove which was full of their miserable groans. Marlows irony seems pungent when after seeing the dying black men he says, The work was going on. The work! And this was the place where some of the helpers had withdrawn to die (12). It is a sinister work, a kind of work that shamelessly and indifferently kills the black people as if they are nothing more than ants. Marlows sympathies are divided between the colonizers and the colonized, where on one hand he seems to sympathise with the natives, he admires the clean, up-to-date, and civilized appearance of the Chief Accountant (I respected the fellow. Yes; I respected his collars, his vast cuffs, his brushed hair (12)) and on the other hand sympathizes with the black slaves. Another hybrid character in the novel is Kurtz. Kurtz does not appear in the first chapter, yet he is mentioned again and again by the Manager of the company as a man who has adopted many characteristics of the savage culture. He lives in the very centre of the darkness, the heart of darkness. Kurtzs hybrid character is revealed through a painting Marlow saw in the Managers office. The painting, Marlow is told, was made by Kurtz. The painting represents a draped and blindfolded woman, the background was sombrealmost black, and the movement of the woman in that painting is stately, and the effect of the torchlight on the face is sinister (16). This painting shows the change that has occurred in Kurtzs personality after living for so many years in the heart of darkness. He seems to have fallen in love with darkness, blindness, and sombreness. He has appropriated the new culture so deeply that he has become a hybrid person, a mixture of the colonizer and the colonized personalities. Conrads description of the company Manager is the description of a hybrid personality: He was neither civil

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nor uncivil. He was quiet. He allowed his boyan overfed young negro from the coastto treat the white men, under his very eyes, with provoking insolence (15). Being a white representative of the colonial authority he is not supposed to let a Negro insult other white people nor expected to be uncivilized. It seems that he has adapted certain characteristics of the native culture and has become a hybrid personality. After analysing Heart of Darkness, we may say that the novel contains vivid examples of the post-colonial concepts of Othering, Stereotyping, and Hybridity. POST-COLONIAL ANALYSIS OF COETZEES WAITING FOR BARBARIANS The first chapter of J. M. Coetzees Waiting for Barbarians is quite appropriate for a post-colonial analysis since the phenomena like Othering, Stereotyping, and Hybridity are observable throughout the chapter. The protagonist of the novel is an anonymous magistrate called the Magistrate, who is supposed to look after the interests of the Empire against any threat from the Barbarians, who live on the other side of the frontier of the district where the Magistrate lives. The Barbarians sometimes attack and loot animals and other ordinary things, which does not bother the Magistrate a lot. The Magistrate lived a very peaceful life until one day the Bureau (secret service of the Empire) sends a representative called Colonel Joll, to investigate and pre-empt an expected attack from the Barbarians. His arrival brings terror, disturbance and unrest in the area since under the emergency powers (1) given to him, he catches the barbarians, tortures them to death and makes the Magistrate feel uneasy. Unjust Violence and the Process of Othering The process of Othering starts when the colonel starts torturing the so-called barbarians in order to assert the authority of the Empire. He represents the Self, the Empire, and the Centre, and deals with the Barbarians as if they are the Others, the margins or the periphery. The Colonel starts his torturous investigations from first two prisoners who innocently say, Excellency, we know nothing about thieving (2), yet the colonel is determined to dig out the truth. He tells about how he makes his prisoners speak truth: First I get lies, you see--this is what happens--first lies, then pressure, then more lies, then more pressure, then the break, then more pressure, then the truth. That is how you get the truth [....] Pain is truth; all else is subject to doubt (3). The colonel represents the unjust, oppressive and humiliating tactics of the Empire, the Self. These torturous tactics marginalize the barbarians and strengthen the process of Othering. The father is so severely tortured that he dies; when the Magistrate visits the prison he finds horrible traces of torture on the fathers dead body: The grey beard is caked with blood. The lips are crushed and drawn back, the teeth are broken. One eye is rolled back, the other eye-socket is a bloody hole (4). The boy is also tortured, the Magistrate observes that his belly and both groins are pocked with little scabs and bruises and cuts, some marked by tickles of blood (6). This unbearable torture makes the body confess things that he had not done or seen and he shows his willingness to help the colonel reach the rioting barbarians. The Magistrate is disturbed because of the Othering process which is getting more and more severe. The oppressive tactics of the Empire were creating enemies for the Empire, enemy Others. The confession of the boy, says the Magistrate, means that the soldiers are going to ride out against [....] people. There is going to be killing (6). This reflects the oppressive policy of the Empire; the Empire is indifferent to the sufferings of the barbarians. The colonel wants to find the culprits at any rate, whether they really exist or not. When some innocent fishing people are caught and brought for torture the Magistrate shows his sympathy for the people and his anger for the colonel and his comrades: You are supposed to help him track down thieves, bandits, invaders of the Empire! Do these people look like a danger to the Empire?" (10) This Othering makes the innocent people feel horrified, humiliated and depressed. They are unable to figure out what their offence is. The Self, in shape of Colonel Jolls oppression, asserts itself by marginalizing the barbarians through the process of Othering. During this process of Othering, we also come across some instances of Stereotyping. The Empire and its Barbarian Stereotypes The Stereotyping of the barbarians tends to make them appear like a body of ghostly images that has no individual self, no separate identity; in the eyes of the Empire, they are all savages, uncivilized barbarians. The barbarians are considered to be smelly, dirty and unclean, the Magistrate observes in the beginning of the first chapter: the two prisoners lie bound on the floor. The smell comes from them, a smell of old urine (2). The Empires eye sees no quality in the barbarians, they are considered to be destitute tribespeople with tiny flocks of their own living along the river (3). Colonel Jolls cannot see the difference between a bandit and an ordinary fisherman due the Stereotyped image he has of the barbarians. He asserts that here is a general unrest among the barbarians. Traders travelling safe routes had been attacked and plundered (5) by the barbarians; therefore, they are all liable to torture and punishment. The Magistrate, however views the colonels behaviour as an episode of hysteria about the barbarians (5). He claims, of this unrest I myself saw nothing. (5). It is only part of a process of assertion of the Empires power and authority. All the people of the area have Stereotyped image of the barbarians. They are afraid of them as if the barbarians are ghosts, evil spirits, or robbers. The Magistrate believes that this Stereotyping is part of the illusions, and faulty imagination of the people of the Empire and consequence of the peaceful life they enjoy under the rule of the Empire: There is no woman living along the frontier who has not dreamed of a dark barbarian hand coming from under the bed to grip her ankle, no man who has not frightened himself with visions of the barbarians carousing in his home, breaking the plates, setting fire to the curtains, raping his daughters. These dreams are the consequence of too much ease. Show me a barbarian army and I will believe. (5) This shows that the barbarians are though not a real threat to the people of the Empire, yet, the lack of knowledge and understanding about their culture has created a great gulf of fear, hatred, and misunderstanding between them.

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Hybridity in the Magistrates Character A more complex and disturbing phenomenon than Stereotyping is Hybridity, which can be traced in the Magistrates personality. The Magistrate is primarily a representative of the Empire and it is part of his duty to watch the interests of the state. However, his sympathetic and congenial nature, his interaction with the barbarians, and his understanding of the barbarian mind, sometimes, make him take side of the barbarians. In the very outset, the Magistrate informs the servants about Colonel Jolls arrival and, being a loyal servant of the Empire, asks them to make a good impression on him" (1). Nevertheless, when the colonel starts the enquiry, the Magistrate realizes the absurdity and injustice involved in the whole affair. He has a firm belief that the father and the son are innocent he addresses the father in a respectable way saying Father, listen to me (2). "What if your prisoner is telling the truth," (3) says the Magistrate to the colonel, How do you ever know when a man has told you the truth? (3) His sympathies for the innocent barbarians, his care, and his help for them, make the colonel suspicious about the Magistrates true affiliation. His hybrid personality makes him indulge into ambivalence; he has a desire to obey and defy the orders of the Empire at the same time: Who am I to assert my distance from him? I drink with him, I eat with him, I show him the sights, I afford him every assistance as his letter of commission requests, and more. The Empire does not require that its servants love each other, merely that they perform their duty (4). This ambivalence indicates that the Magistrates mind is divided between the two cultures, two worlds, two people and two different emotional frames of reference. It is part of the Magistrates duty to provide all sorts of assistance to the Empires representatives, yet he tries again and again to make the colonel believe that his intended operation against the barbarians is unjust, misguided and would bear no fruitful results. He is willing to help the prisoners but his sense of duty towards the Empire restricts him from crossing any limits: I cannot pretend to be any better than a mother comforting a child between his father's spells of wrath (4). His sympathies for the barbarians are at war with his professional duties. I did not mean to get embroiled. I am a country magistrate, (5) he asserts helplessly a responsible official in the service of the Empire, serving out my days on this lazy frontier, waiting to retire (5). He doesnt want to destroy his reputation just before the time of his retirement. He has a desire to include his name in the Imperial gazette as a loyal and dutiful servant of the Empire: When I pass away I hope to merit three lines of small print in the Imperial gazette. I have not asked for more than a quiet life in quiet times (5). The hybridity of the Magistrates character keeps on escalating like his anger. When the Colonel Joll captures some innocent fishermen in order to imprison and torture them, he shows his anger and resentment against it "did no one tell him these prisoners are useless to him? Did no one tell him the difference between fishermen with nets and wild nomad horsemen with bows? Did no one tell him they don't even speak the same language? (10). COMPARISON OF THE POST-COLONIALITY OF THE TWO NOVELS After a thorough analysis of the first chapters of the two novels, I will comment on the similarities and differences between the two texts. There are more similarities than differences in the two texts. Both Heart of Darkness and Waiting for the Barbarians represent a dark picture of the colonial oppression, self-conceited pride, and cruelty towards the colonized people. The protagonists in both the novels i.e. Marlow and the Magistrate, suffer from ambivalence and show sympathies both for the colonizers and the colonized. They show clear signs of hybridity throughout the texts. Marlows expression of hybridity is indirect, based on satirical or ironical remarks; the Magistrate, however, shows the signs of hybridity more openly and directly. The Magistrate does not hesitate to show his contempt and disapproval for the cruel tactics employed by the Empire. Marlow, on the other hand, seems quite indifferent towards the sufferings of the black people, yet at times he quite vividly express his sympathies for the black people and his contempt for the imperial agents. Both the texts portray stereotype characters. Stereotyping in Heart of Darkness is more abundant than Waiting for the Barbarians. The black people of Africa are in Heart of Darkness are presented as ignorant, uncivilized, and detestable. The Barbarians, in Waiting for the Barbarians are also stereotyped as being unclean, secretive, dangerous and worthy of being tortured and killed. The scenes of violence are also present in both the novels. The black people are beaten and tortured many times in Heart of Darkness, yet in Waiting for the Barbarians, the Empire emerges as a more cruel, violent and vile authority. Colonel Joll inflicts unbearable violence on the barbarians and kills many of them in that process. This means that the process of Othering is initiated by the Empire in both the novels in order to assert its value as a governing body. The names of places, countries and the people in Waiting for the Barbarians are imaginary and less realistic as compared to Heart of Darkness. Both the novels, however, present interesting environment, incidents, characters, and language for the post-colonial critics. CONCLUSION To conclude, I would say that the first chapters of Heart of Darkness and Waiting for the Barbarians are replete with the examples of many post-colonial concepts. Both the texts demonstrate very vivid binaries of the colonizer and the colonized, and the self and the other. These texts show how the colonist powers exploited the natives of various geographical areas of the world in order to satisfy their lust for money, authority, and power. The focus of analysis in the two texts, however, is the pitiable predicament of the colonized. The process of othering is at the very core of the two novels and dominates all the other post-colonial concepts in the texts. Apart from othering, stereotyping and hybridity form the very essence of imperial psyche in both the texts.

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REFERENCES 1. Ashcroft, Bill. The Empire Writes Back. Theory and Practice in Post-Colonial Literature. London/New York: Routledge, 1989. 2. Aschroft, Bill, Gareth Griffins and Helen Tiffins eds. Key Concepts in Postcolonial Studies. London/New York: Routledge, 1998. 3. ____. The Postcolonial Studies Reader. London: Routledge, 1995. 4. Bhabha, Homi K. Nation and Narration. London: Routledge, 1990. 5. ____. The Location of Culture. London: Routledge, 1990. 6. Childs, Peter and William, Patrick. An Introduction to Post-colonial Theory. London: Prentice Hall, 1997. 7. Coetzee, J. M. Waiting for the Barbarians. New York: Penguin Books, 1982. 8. Conrad, Joseph. Heart of Darkness. 15 May 2009. Online: <www.enotes.com/darkness-text>. th 9. Das, Bijay Kumar. Twentieth Century Literary Criticism. 5 Ed. New Delhi: Atalntic P & Distributers, 2005. 10. Edgar, Andrew and Peter Sedgwick. Key Concepts in Cultural Theory. New York: Routledge, (First Indian Reprint 2004). 11. Hawley, John C. (ed.). Encyclopaedia of Postcolonial Studies. London: Greenwood Press (The South Asian Edition), 2004.

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