“In a world that often tries to divide us, literature remains one of the last sacred spaces where we can live inside each other’s minds, if only for a few pages” (Banu Mushtaq). By these words what Mushtaq means is, of course, a process of separation of one from the other. There is something definitive through which people from a community segregates other people in the same community or people in a different community, based upon their differences. Generally, this act of division and categorization is done on the basis of ‘caste’, ‘class’, ‘sex’, ‘religion’ etc. The foundation of the process of dissociation lies in the perspectives of the self towards the other, the way one perceives ‘an other’ (‘an other’ is not like the self, but different). What literature does is, it helps us to understand the concept of other, the way ‘an other’ is transformed into ‘the other’, the otherness of the other and the self’s engagement with the other. I have selected two works by Tagore – ‘Chaturanga’ and ‘Streer Patra’ which solely deal with one’s relation with an other. This paper investigates how the process of othering is achieved and what are the criteria that are taken into account while objectification of an individual (Nanibala in ‘Chaturanga’ and Bindu in ‘Streer Patra’) and a group of people (Lower caste Chamars and Muslims in ‘Chaturanga’) occurs. This is the view of the paper to understand how efforts have been made to subsume the otherness of the other under the umbrella of the same. It also looks at the points of view of the ‘othered’, their responses to the process of making them different. The present paper addresses a lack of diversity and plurality and it investigates how humanist and ethical engagement with the other helps an individual to understand the world as a relation. The concept of ‘care’ helps us to comprehend the differences of the other and asserts that the others are not really others but the self’s imagination and product of excessive thought which is powerful enough to dismantle the power structure in a given society.

Based on the perspective of embodied-cognitive translatology, this paper takes Michael Nylan’s The Art of War in English translation as the research object, and explores the embodied-cognitive process of “interactive embodiment” and “cognitive processing” in its translation. The study finds that Nylan’s translation, by reconstructing the mapping relationship between the author’s space and the translator’s space, not only focuses on the deep understanding of the cultural connotation of the source text, but also fully considers the cognitive acceptance of the target readers.In terms of “Embodiment”of the physical world, the translator breaks through the traditional “author-centeredness” and reconstructs the physical world of the source text by critically reflecting on the author, usage and value of “The Art of War”, reflecting the “similar but not equal” interaction with the physical world. At the “Cognition” level of the mental world, the “mapping” and “creative imitation” strategies are used to achieve cross-cultural cognitive access through form-meaning mapping and context reconstruction. The study further verifies the theoretical value of the “Reality-Cognition-Language” principle of embodied-cognitive translatology, and the practical path of creative transformation in the translation of Chinese canonical books, which provides insights for the innovation of local translation theories and international cross-cultural communication research.

Once W.B.Yeats suggested J. M. Synge, “Give up Paris… go to Aran islands. Live there as if you were one of the people themselves; express a life that has never found an expression” (Synge 1968,63). In response to that Synge has written about the life of a distant world, which is segregated from the ‘big world’. Writing is an act, a process of knowing the people and understanding the universe. It gives voice to the voiceless and reveals the unrevealed. It brings out the hegemony and hierarchy between dominator/ dominated, colonizer/ colonized, able/disabled, white/black, have/ have- nots. Mahasweta Devi , an iconic, activist, remarkable vibrant writer of Bengali literature, much of whose work has been for the indigenous people and which deals with their misery, misfortune, suffering and exploitation. I have selected the fictional works – Draupadi, Aranyer Adhikar, Sishu, to analyze Devi’s representation of the subalterns and tribals. There is a history of representation and most of the writers maintain that style to present the dispossessed, marginalized, suppressed and oppressed. This paper seeks to discuss how Mahasweta’s representation of the subaltern and tribal differs from the other writers. It examines how ‘the act of resistance’ becomes a very much part of her writing which tries to subvert and challenge the mainstream dominant discourse.

This paper intervenes in the debate between Jean-Paul Sartre and Maurice Blanchot regarding Charles Baudelaire’s so-called moral failure by situating the poet’s longing for refuge within the aesthetic rather than merely moral framework. Whereas Sartre condemns Baudelaire for retreating into bourgeois norms due to his “bad faith”, this paper argues that Baudelaire’s desire for refuge —whether physical, psychological, aesthetic, or moral—is fundamentally a search for the mediating conditions necessary for artistic creation. Baudelaire resists neither full immersion in the crowd nor complete surrender to boundless self-expansion. His struggle with mediation marks not his moral failure but his aesthetic endeavor to achieve the autonomy of poetic creation.

The longing for refuge—and the failure to find one—is carefully staged in a crescendo throughout Les Fleurs du mal, particularly in Tableaux Parisiens. To explore this argument, the paper closely reads a series of poems. Beginning with the motif of the window as a symbol of the dialectical tension between inside and outside, reality and imagination in the opening poem “Le Paysage.” The attic window circumscribes an internal space that shelters the poet from the external world. This conditions his exchange with the Parisian cityscape and his transformation of it into urban pastoral. However, this idyllic refuge progressively collapses, first in Les Sept Vieillards, then further in Je n’ai pas oublié, voisine de la ville." Finally, “Le Gouffre” portrays the total dissolution of the interior: as infinite emptiness floods through every window, the whole domestic space evaporates into an abyss, leaving the poet with no escape. Here, even dreams and imagination collapse alongside the stable existence of order and numbers.

By tracing the fragility of poetic mediation through spatial symbols such as the window, this paper reinterprets mediation as an aesthetic strategy for maintaining the precarious equilibrium between interiority and exteriority. Far from a moral shortcoming, Baudelaire’s struggle for refuge is essential to poetic creation’ independence from science and ethics.

From 1941 to 1951, Samuel Beckett’s metaphorical writing, influenced by the

international political climate, increasingly highlighted the conflict between the war’s deprivation of life and humanity’s instinct for survival. Drawing upon Beckett’s early poetic theories and their impact on his novelistic practice, the quartet of novels – Watt, Molloy, Malone Dies, and The Unnamable – all employ rhetoric such as paradox, pun, and repetition to construct a balanced and opposing binary “tension,” transcending the boundaries between content and form. This “tension” reflects the author’s conscious imagination of the connection between surface and deep meaning under the onstraints of censorship. It constitutes the poetic character of the novels’ linguistic structure, and this experiment in cross-genre writing reveals Beckett’s reflection on future narrative models.